Posted by: bluesyemre | August 4, 2021

Çok Akustik rec by Saatchi YouTube Kanalı

For immediate release: A new survey reveals that most people and nations strongly support free speech in principle but have reservations in practice.

A global survey “Who Cares about Free Speech?” has been conducted by YouGov for the legal think tank Justitia, which asks citizens in 33 countries questions about their attitude towards free speech in principle and testing their attitude when confronted with controversial speech and trade-offs.

Support for the principle of free speech is very high, averaging around 90 percent in all countries, but it drops substantially when put to the test against supposedly competing values such as statements offensive to religion and minority groups or statements disclosing information that could destabilize the national economy.

To assess the actual support for free speech in a country, the survey includes a composite measure, the Justitia Free Speech Index, based on answers to eight “tough” questions. The top scorer is Norway with 80 points average approval on all eight questions while Pakistan is at the bottom with only 38 points.

The findings in “Who Cares about Free Speech?” indicate that Scandinavians and Americans are most supportive of free speech while citizens in Latin America, other parts of Europe, Australia, Israel, and the East Asian democracies (Japan, South Korea, and Taiwan) also show relatively strong support. Meanwhile, support for free speech is weaker in Russia, Turkey, other parts of Asia, and Africa. Egypt, Kenya, Pakistan, Malaysia, and Tunisia receive the lowest scores on the Justitia Free Speech index.

Jacob Mchangama, director of the legal think tank Justitia, says of the findings:

“The survey is a stark reminder that, even though the principle of free speech is very widely accepted, we’ve yet to develop a truly robust culture of free speech at the global level. Even nations with very strong free speech traditions such as the Scandinavian countries and the United States enjoy far from universal support for controversial speech.

Given that free speech is essential for democracy, freedom, and human flourishing, it is encouraging that more than 90 percent of the global population supports free speech in principle. But once people are forced to measure their support of the value of free speech in the abstract against trade-offs and supposedly competing values, the near universal support plummets, and big differences in attitudes emerge.

These differences have very real consequences since they drive and legitimize the suppression of political dissent and the persecution of religious and sexual minorities and help consolidate the global development towards increasing authoritarianism. In an increasingly digital world in which global platforms cater to billions of people, the tolerance gap also risks fueling a race to the bottom in which the lowest common denominator becomes the bar for permissible speech as policed by unaccountable private tech companies with little transparency.

Unless we develop a more tolerant attitude towards ideas that clash with deeply-held values, there is a risk that the ongoing free speech recession, which has affected the right to speak truth to power in authoritarian states, liberal democracies, and private social media platforms, will only be perpetuated.  As George Orwell so succinctly put it, if free speech means anything, it is the right to tell people what they do not want to hear.”

The survey has been conducted by YouGov in February 2021. It is part of the Future of Free Speech project, which is a collaboration between Copenhagen based judicial think tank Justitia, Columbia University’s Global Freedom of Expression and two academic experts, Svend-Erik Skaaning and Suthan Krishnarajan, from Aarhus University.

Jacob Mchangama is available for comment at and +45 24 66 42 20

Major findings from the report:

  1. Support for free speech varies greatly across the globe. Among the 33 countries surveyed, Scandinavians and Americans are most supportive of free speech while Russians, Muslim-majority nations, and the least socio-economically developed nations express the lowest levels of support.
  2. In Egypt, Hungary, the Philippines, Russia, Turkey, and Venezuela, the actual level of freedom of expression is very low compared to the popular demand for free speech in those countries.
  3. Support for free speech is generally expressed by large majorities in all countries when people are asked their opinion.
  4. However, when confronted with controversial statements – e.g., statements offensive to minorities or religions or supportive of homosexual relationships, or insults to the national flag, the support is generally lower and varies much more between countries and across issues and individuals. Likewise, variation between countries increases and the rankings are different when people are confronted with potential trade-offs regarding information that might be sensitive to national security, harm economic stability, or undermine the handling of epidemics.
  5. General support for free speech has not decreased since 2015. Most nations demonstrate stable or even increased levels of support. However, there are exceptions. Most notably, acceptance of unrestricted criticism of the government has declined in the US.
  6. Various background conditions in the form of gender, age, education, and placement on the left-right political spectrum are related to support for free speech in different ways in different countries. There are some general tendencies, however, including a higher tolerance among left-leaning individuals for insults to national symbols and more acceptance among right-leaning individuals of statements offending minority groups – particularly, in Western countries.
  7. In the US, young people, women, the less educated, and Biden voters are generally less supportive of free speech.
  8. In many countries, people have a tendency to understate tolerance of statements that criticize their own religion and beliefs. Meanwhile, many citizens have a tendency to exaggerate how important they consider the right to criticize their governments.
  9. In all the countries surveyed, a majority prefers some kind of regulation of social media content. However, only a few want the government to take sole responsibility for this. People in two-thirds of the countries surveyed prefer such regulation to be carried out solely by the social media companies themselves while a plurality in the rest prefer the regulation of content to be carried out by the social media companies along with the national governments.
  10. Opinions about regulation of social media content are sensitive to whether the issue is linked to statements about fake news or repression of free speech.

Posted by: bluesyemre | August 4, 2021

Public Library Design by Siniša Prvanov

The Outrage by William Hussey

Last year, in the middle of the pandemic, the uncertainty, and the government incompetence and maliciousness, there was one bright point for people in the UK. Prime Minister Boris Johnson visited Castle Rock School to give a televised speech. This wasn’t the bright point – that honour went to the display of books placed by the school’s librarian, which loomed over Johnson’s shoulders and, viewers and commenters believe, expressed exactly what the librarian thought about the school’s illustrious visitor. The books included stories about authoritarian dystopias, such as Fahrenheit 451 and The Subtle Knife by Philip Pullman; pointed titles Betrayed and The Resistance; and a little extra snark through the inclusion of Roald Dahl’s The Twits. While the school remained vague about whether the books had been specifically chosen, the public saw the display as a sly dig at the Conservative government’s handling of COVID-19, as well as their social policies regarding education and welfare. 

If the Castle Rock School librarian’s display was indeed deliberate, it was a small but powerful act of resistance designed to draw attention to the hypocrisies of a government that has consistently set itself in opposition to diversity and equality, as we can see its the recent attacks on antiracist terminologyits poor track record on trans rights, and its introduction of legislation to limit the right to protest. In times of structural attacks and state undermining of human rights, librarians are in a unique position to resist, by ensuring access to knowledge even as the powers that be attempt to limit these resources.

I recently read The Outrage by William Hussey, a novel reminiscent of The Handmaid’s Tale and V for Vendetta. In Hussey’s dystopian future, the UK is ruled by The Protectorate, a fascist regime that has outlawed people of colour and LGBTQI+ people. The story follows Gabe, a gay teenager who has built a small resistance with his friends; the group rebels against The Protectorate by secretly watching illegal films from before the beginning of the regime. The story is chilling, timely, and strikes a little too close to home, but arguably the most important character in the story is one who never appears on the page. The films that the teens watch were stashed in a hidden room in a decommissioned library, where there is clear evidence of Nazi-style book-burnings and no physical books left. Gabriel and his friends conclude that the films must have been saved by a librarian, and the films themselves have clearly been carefully selected as examples of media that the Protectorate would not tolerate. In addition to anti-authoritarian stories such as Star Wars and Indiana Jones, the librarian has hidden films like Pride, Love Simon, and Disclosure. The librarian’s identity is never uncovered, and our knowledge of the politics of The Protectorate means that we can strongly infer that they were captured and either incarcerated in a camp or killed. Despite being an absent character, the librarian is the catalyst for the entire plot of The Outrage; the teenagers’ rebellion would not exist, and characters such as Gabriel and his boyfriend Eric would not have seen positive portrayals of gay people, had it not been for the librarian’s act of resistance. 

The actions of the librarian in The Outrage reflect important and often dangerous resistance work by librarians in the real world. Book Riot’s Katisha Smith writes about the antiracist, social justice, and disability rights work of Black librarians in 13 Pioneering Black American Librarians You Oughta KnowThe Book Smugglers of Timbuktu details the work of librarians to smuggle manuscripts to safety, avoiding their destruction by al-Qaida in 2012. Similarly, Alia Muhammed Baker smuggled texts out of the non-lending library where she worked in Basra, saving around 30,000 books out of the Al Basrah Central Library before it was destroyed in 2003. Perhaps most relevant to The Outrage, some librarians in the UK between 1988 and 2003 resisted “the most anti-gay piece of legislation of modern times,” Section 28.

Section 28 was a vile piece of legislation designed to prevent children from learning about the existence of LGBTQI+ people. The specific wording of Section 28 stated that a local authority “shall not intentionally promote homosexuality or publish material with the intention of promoting homosexuality” or “promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship.” In reality, this meant that no school or library could acknowledge the existence of gay or lesbian people, and by implication, bisexual, pansexual, trans and other queer people; this would also be considered “promoting homosexuality,” because generalisation is the nature of bigotry. Heteronormativity and cisnormativity was the order of the day, and an entire generation of UK children were prevented from learning in schools or through their library reading that anyone other than cishet people existed. Section 28 wasn’t repealed until my final year in school, and I have a strong memory of one French lesson where my teacher used a newspaper article about a Pride parade in Paris – and posted one kid as a look-out at the classroom door to warn us in case any other teachers came along. 

Despite living through Section 28, I only learned from poet Jay Hulme’s introduction to The Outrage that it applied not only to schools, but to local libraries. As David E Bennett notes in a blog post on #UKLibChat, the impact of Section 28 is still being felt today. LGBTQI+ books remain limited in public libraries – and with the defunding and closure of many libraries, again under the Conservative government, it’s looking unlikely that this lack of resources will be corrected any time soon. In another blog post on #UKLibChat, John Vincent discusses librarians challenging Section 28 by protesting the policy, and getting involved in local initiatives to provide literature to community and outreach groups, despite the fact that they could have faced legal consequences for these actions. 

It’s reassuring to read accounts from librarians who resisted Section 28 the first time around, as the UK is currently in the middle of an anti-LGBTQI+ backlash that has been frighteningly reminiscent of 1988 for many Brits, and which forms part of a broader swing to the far right. In addition to demonising trans people and undermining the UK’s leading LGBTQI+ charity, Stonewall, the current government has proposed a “free speech at universities” bill that in fact seems designed to ensure that university discussions and the exchange of ideas toe the government line; another bill that would “normalise over-policing of peaceful protests;” and an attempt to ban schools from teaching about anti-capitalism and similar anti-authoritarian movements. In the current political climate, the UK will need librarians like the one who haunts the spaces between the pages in The Outrage; but the examples of librarians resisting draconian laws and actions throughout history serve as a reminder that these keepers of knowledge will ensure that information and stories, no matter how strongly suppressed, will never be erased.

Marmaris’te yangın: Çam ağaçlarının çoğu yandı, arıcılık zor durumda

Marmaris ilçesi Osmaniye ve Bayır mahallesi güzergahı üzerindeki Orhaniye ve Turgut mahallesinin yüksek kesimlerinde onlarca küçük çaplı yangının söndürme çalışmaları sürüyor. Kendi imkanlarıyla ailelerini güvenli bölgelere taşıyan arıcıların dışında pek kimsenin bulunmadığı Osmaniye köyüne geceden kalma yangının sessizliği hakim. Arılarını yaz mevsimi sebebiyle Isparta, Denizli bölgesine çıkartan arıcıların bir kısmı, gece saatlerinde köye ulaşabilmiş. Arıcılıkla geçinen köyün sakinleri, çam ağaçları tamamen yandığı için artık burada arıcılık yapılmasının imkansız olduğunu söylüyor.

Arıcı Yaşar Karayiğit; “Türkiye’nin çam balının %80’i Marmaris’den karşılanıyor, en çok bal üreten yer Osmaniye köyüdür. Osmaniye’de de çamlar yandığı için çam balı tamamen bitti. Bundan sonra işimiz zor. Arıcılık tamamen bitmiştir bizim için. Bu çamları tekrar dikmek istesek en az 50 sene gerekiyor. Belki torunlarımız bir ihtimal görebilir. Biz kendimize yeni iş bakacağız, bundan sonra ne yapabiliriz bilmiyorum” diyor.

Haber-Video: Evren Topaloğlu
Katkıda bulunanlar: Süleyman İnalçık, Mehmet Kıral, Esra Yalçınalp

Posted by: bluesyemre | August 4, 2021

Going digital: payments in the post-Covid world

The global economy is going through a digital-payment revolution. Covid-19 has forced countries across the world to modernise their payments systems in order to keep commerce flowing and sustain economic growth.

In this special report, The Economist Intelligence Unit examines the diverse way in which the digital-payment revolution is transforming business. Alongside this, the report outlines the implications of this digital payments boom for governments and regulators.

Posted by: bluesyemre | August 4, 2021

Fırtına #YeniTürkü

Yeni Türkü

Bak işte yaklaşıyor fırtına
Bak yine yükseliyor dalgalar

Yıllardan sonra, yollardan sonra
Şarkılar söylüyor çocuklar
Yıllardan sonra, yollardan sonra
Yeniden yan yana onlar

Ne geçmiş tükendi ne yarınlar
Hayat yeniler bizleri
Geçse de yolumuz bozkırlardan
Denizlere çıkar sokaklar

Bak işte yaklaşıyor fırtına
Bak yine yükseliyor dalgalar

Yıllardan sonra, yollardan sonra
Şarkılar söylüyor çocuklar
Yıllardan sonra, yollardan sonra
Yeniden yan yana onlar

Ne geçmiş tükendi ne yarınlar
Hayat yeniler bizleri
Geçse de yolumuz bozkırlardan
Denizlere çıkar sokaklar

Yıllardan sonra, yollardan sonra
Yeniden yan yana onlar

New Name?
Books Should Be Free has changed its name to Loyal Books to show how important books are to our lives. You’ll always find the best collection of completely free public domain audiobooks and ebooks at Loyal Books. We also offer best sellers for those who want the newest books but mostly you’ll find an overwhelming selection of free books to enjoy.

If you don’t know what book you want to listen to next, it can be tedious trolling through hundreds of lines of text results looking for a fun book. Loyal Books puts the fun back into browsing for audio books. For those who listen to audio books because reading does not come easily to them, the last thing these people would want to do is read through pages of text to find something to listen to. LoyalBooks provides a primarily visual browsing experience so you don’t have to read tedious amounts to find listening material. The website is also screen reader friendly making its resources accessible to people with vision disabilities.

All audio books on are in the public domain. This means that no one holds a copyright on these books and therefore anyone including is free to distribute them. Enjoy these free audio books and use the share button on to tell your friends about all these great public domain audio books.

Books that have entered the public domain are digitized and recorded by volunteers that coordinate themselves through a variety of websites. The majority of public domain books, however, are digitized by and recorded by Loyal Books draws on these public domain sources to deliver free audio books to you in an engaging and fun way. Enjoy the browsing experience on our website and be sure to bookmark us and return when youre ready for you’re next audio book!

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Numerous libraries across the United States are
eliminating fines for overdue books.

Libraries across the United States are eliminating late fees for overdue books. In Burbank, California, the Burbank Public Library became fine free on July 1, eliminating fees for overdue books and cancelling historical overdue fees.

Of the switch, the library wrote on its website, “This move is part of our efforts to improve equity of access. While fines for overdue items may seem like a small burden, they can create a major barrier to service for those who are struggling financially. Too many people have made the choice to stop using the Library because of inability to pay or fear of accruing fines.” The library also stated, “Research has shown that fines are not effective in getting materials returned on time, and libraries that have eliminated fines have found that long overdue items come back and patrons who avoided the library for years start visiting again.” Fines won’t be charged for lost library cards, or holds that aren’t picked up, but will still be charged for lost or damaged checked out items.

In Louisville, Kentucky, the Louisville Free Public Library also stopped collecting fines as of July 1, saying in a news release, “But LFPL officials expect the elimination of fines will lead to the return of more library materials, reducing the need for and associated costs of repurchasing lost items.”

The Baldwin Free Library in Birmingham, Michigan, did the same as of July 1, with Library Director Rebekah Craft saying in a statement, ““Once someone owes a late fine, they are less likely to visit the library again, and the fear of owing late fines can cause patrons to not borrow the items they need. We hope being fine free will encourage prior users to come back to the library, as well as encourage new users to explore our offerings.”

In Alamance County Public Libraries in North Carolina, the same elimination of library fines took place July 1; the fines made up less than 1% of ACPL’s revenue per calendar year. In a statement, Kathy Garrison, public services manager at ACPL, said, “Sad to say, but I’ve had the opportunity to witness lots of unhappy kids leave the library because of fines owing on either their card or the parent’s card.” Garrison also said that grandparents attending the library with their grandchildren sometimes “weren’t in a position to cover the fines or couldn’t get a card themselves because they were visiting from out of town. On several occasions I was able to turn those tears into a smile when I checked the books out on my own library card. Nothing gives me more satisfaction than seeing a happy child leave the library with the books they picked out. Saying goodbye to overdue fines will mean this happens more often.”

Other libraries are testing going fine free on a conditional basis. Norfolk Public Library in Virginia will be fine free from July 1, 2021 through June 30, 2022, although any fines incurred prior to July 1 must still be paid.

In Pennsylvania, the Lehigh Carbon Library Cooperative is considering making the change to going fine free. Kara Edmonds, Dimmick Memorial Library director, called this a “pretty fantastic trend” and said, “The majority of patrons who have their accounts blocked by overdue fees are people from lower income families or children. We want them to be able to use our services. The real mission of the library is to provide free information without restrictions, not to teach responsibility.”

The American Library Association passed a resolution in January 2019 stating, “The American Library Association asserts that imposition of monetary library fines creates a barrier to the provision of library and information services.”Get the best of Forbes to your inbox with the latest insights from experts across the globe.Follow me on Twitter. Check out my website

Rachel Kramer Bussel

I’m a freelance writer covering books, pop culture, and relationships. My website is and you can follow me at @raquelita on Twitter. I’ve edited over 60 anthologies, and am Best Women’s Erotica of the Year series editor, and my short stories have been published in over 100 anthologies. My books have won eight IPPY (Independent Publisher) awards. I’ve taught writing workshops across the United States and internationally. My nonfiction has been published in The New York Times, The Washington Post,, Salon, Slate, and numerous other publications. When I’m not working, I’ve got my head buried in a book and am always looking for my next read.

Posted by: bluesyemre | August 3, 2021

Kumlarda Saklı Hazine: Patara Belgeseli

Türkiye İş Bankası ile iştirakleri Şişecam ve TSKB’nin 2016 yılından bu yana katkıda bulunduğu Patara Antik Kenti kazı çalışmalarını anlatan, Vedat Atasoy’un yönettiği “Kumlarda Saklı Hazine: Patara” belgeseli.

Posted by: bluesyemre | August 3, 2021

The Adaptive Library and Beyond

Posted by: bluesyemre | August 3, 2021

Evde olma hissiyatının peşinde

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Duygu ve Bengü Gün, Fotoğraf: Andrii Zamovsky

Sounds Like Home: Longing and Comfort through Lullabies sergisi, 22 Ağustos’a kadar San Francisco’daki SOMArts Ana Galeri’de ve çevrimiçinde devam ediyor. Sergiye dair merak ettiklerimizi serginin küratörleri Duygu ve Bengü Gün’e sorduk

Röportaj: Selin Çiftci

Sounds Like Home, aidiyet, bağlılık gibi pek çok yerleşik kavramla özdeşleşmiş ninniler üzerinden şekillenirken, ilhamını ailenizin Yunanistan’dan Türkiye’ye olan göç hikâyesinden alıyor. Sergi bu hikâyeden, sizin kendi çocukluğunuzdan hangi izleri taşıyor?

Duygu Gün: Türkiye’de hemen hemen her ailenin tarihinde bir göç hikâyesi var. Ya farklı bir şehire ya farklı bir ülkeye, kimisi zorunlu kimisi ise tercih sonucu. Biz ailemizin hikâyesi ise mübadeleyle 1924’te Girit’ten Türkiye’ye zorunlu olarak göç etmeleriyle başlıyor. Büyürken de hep bu hikâyeleri dinleyerek ve merak ederek büyüdük. Hangi dili konuşuyorlardı, niye artık o dilde konuşmuyorlardı, neden gelmişlerdi, özlüyorlar mıydı, komşularıyla ilişkileri nasıldı? Aile buluşmalarında ise hemen hemen her zaman bu özlem hikâyelerine müzik eşlik ederdi. Ömrünün büyük bir kısmını farklı ülkelerde bir göçmen olarak geçiren biri olarak hep müzikle özlemimi giderdim, müzikle yeni kültürlerle bağlantı kurdum. Ailemin tersine benimki zorunlu bir göç değildi, sadece daha farklı hayatları ve kültürleri tanımak istiyordum.

Bengü Gün: Dedem Girit ve aile hikâyelerini anlatmayı çok severdi; ama oraya dönmeyi hiç düşünmezdi; sanki onun için kapanmış bir defterdi. Çok isterdim onunla Girit’e gidebilmeyi. Babam yıllarca öğrenmeyi ve konuşmayı reddettiği dili yakın zamanda yeniden öğrenmeye başladı. 2019 yılında sonunda onunla Girit’e gidebildik. Yıllarca anlattıkları köyü görmek, oradaki “komşularıyla” tanışmak tarif edilmez bir tecrübeydi. Köydeki bir aile tarafından sanki evimizde gibi karşılandık. Onlar da mübadeleyle Türkiye’den Girit’e gelmişlerdi, kısa zamanda tüm köy bu eve doluştu ve karşılıklı hikâyeler paylaşıldı, ortak tanıdıklar bulundu, şarkılar söylendi. İşte o zaman evde gibi hissettik ve sanki hikâye tamamlandı. Sergide de peşinde olduğumuz şey bu “evde olma” hissiyatı idi.

untitled image
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Sounds Like Home: Longing and Comfort through Lullabies sergi görüntüsü

Fotoğraf: Richard Lomibao

Göçlerle birlikte ninnileri sınırların ötesine taşırken, yolculuk sırasında da yenilerini üretiyoruz aslında. Bu bağlamda serginin kendine özgü, akışkan, dinamik bir dünya haritası oluşturduğunu söyleyebilir miyiz?

Duygu Gün: Sergide dünyanın farklı ülkelerinden göç hikâyeleri yer alıyor. Nooshin Hakim, Hannah Reyes Morales ve Ceyda Oskay farklı coğrafyalarda topladıkları ninnilerle göçmenlerin hikâyelerini anlatırken aslında kendi göç hikâyelerine de farklı bir katman ekliyorlar. Husniya Khujamyorova, Pamir bölgesinde yok olma riski taşıyan dillerdeki ninnilerin kayıtlarını yaparak o coğrafyanın kültürünü ve müziğini ölümsüzleştiriyor. Güneş Terkol mekâna yayılan tüllerle yaptığı hu hu hu isimli eseriyle ninnilerde geçen evrensel dili, komşuluk ve aidiyetlik hissini bir araya getirerek bu haritayı tamamlıyor.

Bengü Gün: Ninniler hemen hemen her kültürde olan, ebeveynlerin çocuklarını uyuturken ya da sakinleştirmek için söyledikleri, basit bir armonik yapıya sahip müzikler. Ama Federico Garcia Lorca’nın da dediği gibi her coğrafyanın kendi kültürüne dair izleri taşıyorlar. Sergi bize bu kadar benzerliğin içerisindeki farklılıkları da gösteriyor. Aynı zamanda ninniler toplumsal konulardan da izler taşıyor. Elena Mencarelli’nin A Different Story (Bir Başka Hikâye) işinde bahsettiği çocukken dinlediğimiz hikâyelerin ne kadar geniş toplumsal sorunlara yol açtığını, masum bir çocuk şarkısının ya da peri masalının, kadın cinayetleri ve kadının toplumdaki yeri üzerine ne kadar çok şey anlattığını da bize gösteriyor.

Müzik kültürel bir birleştirici, dilini anlamasak da başka dildeki şarkıların duygularını anlıyoruz. O tanıdık olma hissinin verdiği rahatlığın en evrensel olarak ninnilerde bulunduğunu düşünüyorum. –Duygu Gün

Sergide farklı disiplinlerden, coğrafyalardan gelen sanatçılar ve “ses”ten ziyade araçsallaşmış pek çok ifade biçimi yer alıyor. Sergideki sanatçılar nasıl bir araya geldi; bu çeşitlilik sergiye nasıl katkıda bulunuyor?

Bengü Gün: Sergiyi kurgulamaya ilk başladığımız andan itibaren olabildiğince farklı sese ve hikâyeye yer vermek istiyorduk. Aslında ninniler ve çocuk şarkıları bu hikâyelerin anlatılmasında çoğu zaman bir araçtı ve sanatçılar da bu hikâyeleri sadece sesle değil farklı formlarda ve materyallerle aktarıyorlar. Sergiden bazı eserlerle bunu anlatmak sanırım daha kolay olacak. Taro Hattori’nin sergide yer alan Treading a Lost Journey işinde de Young Müzesi’nde katıldığı bir konuk sanatçı programı sırasında insanları en çok etkileyen kayıpları üzerine topladığı ses kayıtlarını paylaştı. Projesinde katılımcıları en çok etkileyen kayıpların aileleri ya da çocukluklarıyla ilgili olduğunu gözlemlemişti ve o kayıplarla eşleşen ses kayıtlarını toplamıştı. Sergide yer alan yerleştirmesinde kendi çocukluğundan annesinin kullandığı dikiş makinesi ve ona göre hafızanın işleyişini temsil eden bisiklet tekerleriyle topladığı bu sesleri bir araya getiriyor. Daniel Konhauser, Invisible Theremine ve Optical Score işlerinde artık dijitale daha da bağımlı olduğumuz bu dönemde fiziksel temasının azalmasını ve ebeveyn çocuk ilişkilerinin değişmesini ele alıyor. İris Ergül’ün San Francisco’da ürettiği ve anneannesinin vücudunu temsil eden ve şamanik bir ritüel objesini andıran Old She-Hyena isimli giyilebilir heykeli ise tam tersine alıştığımız beden/ruh, erkek/kadın, doğa/kültür gibi çevremizle kurduğumuz ikili ilişkileri sorguluyor. Rashin Fahandej’in video yerleştirmesi hapisteki babaların çocukları için kaydettikleri ninniler aracılığıyla yargı sistemlerinin ırkçı ve ayrımcı yapısını sorguluyor. Projesi kapsamında San Francisco’da da bir saha çalışması yapmayı planlıyor.

Sergiye paralel olarak The Lullaby Project programı kapsamında sanal bir söyleşi de gerçekleşecek; bu iş birliğinden ve detaylarından bahseder misiniz?

Duygu Gün: Carnegie Hall Weill Müzik Enstitüsü tarafından başlatılan Lullaby Project programıyla ninniler üzerine araştırma yaparken tanıştım. Lullaby Project zorlu yaşam koşulları yaşayan anneleri profesyonel müzisyenlerle eşleştiriyor ve onlara bebekleri için kendi ninnilerini besteleme ve kaydetme konusunda yardımcı oluyor. Programın amacı müziğin gücünü kullanarak anne sağlığını desteklemek, çocuk gelişimine yardımcı olmak ve ebeveyn ile çocuk arasındaki bağı güçlendirmek. Carnegie Hall’ün geliştirdiği rehber ve sağladığı destekle program değişik kurumların iş birliğinde farklı eyaletlerde ve ülkelerde can bulmuş. Bu amaçla Bengü ile birlikte proje ortaklarıyla gerçekleştirdikleri ve iyi uygulamaları paylaştıkları iki günlük çevrimiçi konferanslarına katıldık. Yaptıkları çalışmalar bizi çok etkiledi; hatta Türkiye’den ilgilenebilecek bazı müzisyenlerle de bu programı paylaştık. Aslında ilk amacımız sergiye paralel olarak San Francisco’da yerel ailelerin ve sivil toplum örgütlerinin katılımıyla bu programı birebir yapmaktı. Fakat Covid-19 nedeniyle fiziksel bir program yapmak maalesef mümkün olmadı. Onun yerine San Francisco’daki proje ortakları Noe Music ve Homeless Prenatal Program’ın da katılımıyla bir söyleşi gerçekleştirmek ve Lullaby Project’in detaylarını paralel olarak serginin izleyicileriyle de paylaşmak istedik.

O ses, bizim için büyürken çok duyduğumuz Samiotisa Samiotisa isimli bir şarkı ve Girit’te Larani Köyü.

Bengü Gün

Sergi aynı zamanda SOMArts Cultural Center’ın Konuk Küratör Programı’nın 11. sezonunun son sergisi. Programa dair izlenimleriniz neler oldu, süreç nasıl gelişti?

Bengü Gün: SOMArts farklı disiplinlerde etkinlikler ve sergiler aracılığıyla sosyal değişime katkı sağlamayı amaçlayan ve kar amacı gütmeyen bir kurum. Konuk küratör programı da bu amaca yönelik sergileri desteklemek, sanatçı ve küratörlerin yetkinliklerini artırmak üzerine kurulmuş. Programa bir sergi projesiyle başvuru yapılıyor ve senede üç sergiye bu kapsamda yer veriyorlar. Duygu farklı ülkelerden ninnileri toplamak üzere bir çalışma yapmak istiyordu. Programın açık çağrısını benimle paylaştıktan sonra, ninniler üzerine çalışmalar yapan sanatçılar üzerine bir araştırma yaptık. Ardından bunu SOMArts’a bir sergi önerisi olarak sunduk. Bizim açımızdan çok değerli bir deneyim ve öğrenim süreciydi. Buradaki sistemli iş yapış şekli, sınırların ve rollerin çok net olması özellikle benim için farklı bir deneyim oldu. SOMArts ekibiyle çalışmak da oldukça keyifli ve pürüzsüzdü, her konuda desteklerini alabildik. SOMArts fon, mekân ve işgücü desteğinin yanı sıra SAHA ve benzeri derneklerden fon alabilmemiz için idari destek verdi. Programın ilk altı ayında çeşitli küratöryel pratikler üzerine eğitimlere katıldık. Covid-19 sebebiyle planlarımızı hem fiziksel hem çevrimiçi olacak şekilde yaptık, bazı planlarımızı iptal etmek ve bazı işlerin sunumunu değiştirmemiz gerekti. Zor bir süreç olsa da, SOMArts’ın sağladığı çevrimiçi sistemle sergiye her yerden erişim sağlayabileceğiz.

Güneş Terkol, Hu Hu Hu, 2020-2021, Fotoğraf: Richard Lomibao

Serginin ilk tanıtım broşürlerinde ismi Anne Kucağı (Mother’s Bosom) olarak geçiyordu; isim değişikliğine sizi götüren nedenler nelerdi?

Duygu Gün: Ben birçok değişik ülkede yaşadım ve her gittiğim yerin dilini ve müziğini öğrenmeye çalıştım. San Francisco’daki hayatım da çok kültürlü, birçok dilin dansını ve müziğini iç içe yaşadığım, bazen aynı günde birkaç dil konuşup birkaç farklı dünya müziği türünde jam yaptığım bir ortam. Müzik kültürel bir birleştirici, dilini anlamasak da başka dildeki şarkıların duygularını anlıyoruz. O tanıdık olma hissinin verdiği rahatlığın en evrensel olarak ninnilerde bulunduğunu düşünüyorum. Projenin ismini koyarken o bilinirlik hissini anne kucağındaki o güvenli ve rahat olma hissine benzettiğim için ve sergide de öyle bir his yaratmaya çalıştığımız için bu şekilde isimlendirdik sergiyi ilk başta. Fakat serginin ana konusu anneler değil, ebeveynler de değil. Asıl ele aldığımız konu ninnilerin evrenselliği, içinde barındırdığı hikâyeler, beklentiler, özlem, üzüntü, sıkıntı, tanıdık olma hissi ve Sounds Like Home bunu daha iyi anlatıyor ve de sesin temel alındığı görsel bir sergide ses öğesine de bir referans veriyor.

İkiz olarak, çocukluk bilincine uzanan bir sergide beraber çalışmak nasıl bir deneyim? Üretim sürecinde birbirinizi bu anlamda nasıl beslediniz?

Bengü Gün: Duygu ile yollarımız on beş sene önce Duygu, İtalya’ya taşındığında ayrıldı. Tek yumurta ikiziyiz, bütün öğrenim hayatımızı beraber geçirdik ve birçok projede beraber çalıştık. Birbirimizi çok iyi tamamlıyoruz. Duygu’nun San Francisco’da müzik üzerine çalışmaları ve benim görsel sanatlar alanındaki odağımla sesin ön planda olduğu bir sergi ortaya çıktı. Farklı kültürlerde yaşamanın ve işlerde çalışmanın bakış açılarımızı nasıl farklılaştırdığını görmek şaşırtıcıydı ama sürecimize çok katkısı oldu.

Rashin Fahandej, A Father’s Lullaby, 2019, Fotoğraf: Richard Lomibao

Aylin Vartanyan’ın Eşikte Karşılaşmalar başlıklı çalışmasında ninniyle ilişkili olarak “Sanki o ses tüm taşları, duvarları, harfleri ve resimleri tutuyor” diye bir dize geçiyordu. Sizin için o ses ne; ve nerede yankılanıyor; evi, mekânı neresi?

Bengü Gün: O ses bizim için büyürken çok duyduğumuz Samiotisa Samiotisa isimli bir şarkı ve Girit’te Larani Köyü.


Duygu ve Bengü Gün küratörlüğündeki Sounds Like Home: Longing and Comfort through Lullabies sergisini 22 Ağustos’a kadar çevrimiçi olarak bu adres üzerinden ziyaret edebilirsiniz.

Posted by: bluesyemre | August 3, 2021

Biblioteca Vasconcelos, Mexico City

Photo of Biblioteca Jose Vasconcelos Mexico City

Words: Caroline Joan Peixoto and Charlie Keaton | Images: James Florio

At more than 400,000 square feet, Biblioteca Vasconcelos is a mega-library. “It’s like entering an alternate universe,” says architectural photographer James Florio. “For me, that’s exactly what reading is, and this library is one of the most surreal places I’ve ever shot.”

Actually, Biblioteca Vasconcelos is five libraries, each dedicated to a different Mexican luminary. The collective space was designed by Alberto Kalach, a Mexican architect leading his own firm, who is known for frequently exploring the balance of society, nature, and history in his designs. His critics often use the words “radical” and “visionary.”

“Culture and nature are often on opposing sides,” Kalach has been quoted to say.

With Biblioteca Vasconcelos, the architect presented a design that promoted ecological regeneration. Given a barren urban plot, an extensive botanical garden was created to surround the library. Lush with over 60,000 species endemic to Mexico, the space serves not only as a collection of human knowledge, but an encyclopedia of natural life.

The mammoth concrete, steel, and glass facility uses natural light and ventilation to function. With hive-like, cantilevered levels of bookshelves, windows that stand several stories, and translucent floors, the other world is clearly expressed. It’s the ideal spot to lose yourself, whether in a good book or not.

Posted by: bluesyemre | August 3, 2021

Pandemic #ReadingHabits Survey Results

pie chart of genres

Two weeks ago, we asked readers to answer a series of questions about how the pandemic had (or had not) changed your reading habits and preferences. Over 5,000 of you answered (5,117 to be exact), so we’ve got quite a good chunk of information to share! Here are the results.


More than half of you, 58.4%, said you’ve been reading more since the pandemic. 18.2% say you’re reading less, and 23.3% say your reading amount hasn’t changed. We didn’t ask why people gave the answers we did, but since so many people had more time between stay-at-home orders and less commuting, along with a need for a bit of escapism, the big increase makes sense.


Most of you — 70% — said you’re reading the same book length as usual. 14.7% said you’re reading longer books (which scans with the increase in nonfiction and fantasy we’ll see later), and 15.1% said you’re reading shorter books.


  • 1,585 of you, or about 31%, said you’re buying more books from independent bookstores
  • 552 of you, or about 11%, said you’re buying more books from chain bookstores (Barnes and Noble, etc)
  • 1,389, or about 27% of you, said you’re buying more books from Amazon (interesting that this is about equal to the indie bookstore uptick)
  • 900 of you, or about 18% said you’re buying more books from used bookstores
  • 227, or just 4% said you’re buying more books from big box stores like Target and Costco
  • 832 of you, or 16%, said you’re now buying your books from another option not listed. Indie bookstores and Amazon are the big winners here.


217 of you, or about 4%, disbanded your book clubs entirely during the pandemic. 328, or 6%, paused your book club meetings but plan to get back to it when it feels safe to do so. For those who took their book clubs virtual, 9% of you (476 people) will keep them virtual and 15% have returned to in-person meetings. 56 of you, or 1%, never stopped meeting in person, which is a choice.


Quite a large number of you — 47% — said you changed reading formats during the pandemic. Let’s break that down:

  • 22% (1,149) are listening to more audiobooks vs. 4% who are listening to fewer
  • 29% (1,479) are reading more ebooks vs. only 2% who are reading fewer
  • 11% (573) are reading more physical books vs. 11% who are reading fewer


When asked if you were using your public libraries more or less during the pandemic, 28% said you were using it more, 25% said you were using it less, and 47% said you were using it about the same. A further breakdown:

  • 25% of you said you were using the library more and would continue to do so
  • 6% said you were using it more, but would stop when you could
  • 32% of you said you didn’t use your library before, and won’t in the future
  • 37% of you said you didn’t use your library before, but will in the future


When asked if the genre of books you’re reading has changed during the pandemic, 33% of you said yes. That breakdown is interesting:

Pie chart of genre changes, with "more variety," "more romance," and "more nonfiction" as the largest segments

As you can see, “more variety,” “more romance,” and “more nonfiction” are basically tied for the biggest changes in genre choices. The nonfiction entries mentioned specifically reading more memoirs, investigative political works, and antiracism books. The next rung is a tie between “more fantasy” and “more light fiction” — light fiction being a catch-all for keywords like “optimistic,” “happier,” “not so dark,” “beach reads,” and “lighter books.” Not really a genre per se, but definitely a tone people were searching for. If you combine people who read more mysteries and those who read more thrillers, that group is also close to the fantasy/light fiction cohort at 6.6%.

It’s also interesting that twice as many people sought out fantasy as did science fiction (perhaps because sci-fi includes dystopias, which people were pointedly avoiding). And to the brave 2.2% who picked up more horror: we salute you.

And that’s it! Thank you to everyone who participated.

Posted by: bluesyemre | August 3, 2021

The Radical Potential of #Libraries

BPL Grove Hall pop-up designed by Civic Space Collaborative

Liz Cormack (she/her) is a 2021 Summer Fellow with the Mayor’s Office of New Urban Mechanics, working with the Boston Public Library and the Environment Department to build and evaluate placemaking projects at BPL Free Outdoor WiFi Zones.

When I first moved to Boston twelve years ago, trips to the library were about renting DVDs, browsing the magazine collection, and settling into a comfortable chair to do homework for hours. Everyone has a different experience of the library, which is what makes libraries so full of potential.

When the Boston Public Library (BPL) closed at the start of the pandemic, their critical role in the functioning of the community became unmistakable. Residents depend on libraries for everything from computer and internet access, to language and legal support, a place to bring kids for storytimes, and a teen center after school. Libraries have, since the industrial revolution, served as an entry point for newly arrived immigrants to learn, engage, and get support pursuing citizenship.

A year without physical access to libraries posed a critical question: once reopened, what should the future of the library look like?

This summer, in collaboration with BPL and the City’s Environment Department, we’re experimenting with two overlapping ideas: how could libraries evolve to be remote work zones and serve a critical role in heat resilience as Boston gets hotter?

Libraries sit on city-owned land, and at a moment when trust in public institutions is waning, they remain a highly trusted public entity across neighborhoods, age groups and more. As a network of public spaces, libraries are positioned to provide dynamic outdoor amenities in addition to their indoor resources. Many patrons I’ve spoken with are still concerned about COVID-19, especially until their children are vaccinated, and outdoor seating feels safer and more comfortable.

Boston has one of the densest distributions of libraries by population in the country. To address disparities in access to the internet at home, BPL rolled out free outdoor WiFi zones at 14 locations while branches were closed, ensuring that residents could access the internet safely in open air.

Building on that success, we’ve created six shaded pop-up work areas this summer to make that free WiFi easier to access and more fun to use. I’ve been amazed, the more time I spend at various BPL branches, at the community that surrounds them — each branch is unique, with a different energy, different needs in the neighborhood, and different programs and opportunities to animate the space.

Many BPL locations already have beautiful outdoor space, and a big opportunity to further invest and activate those spaces. With a limited budget, we’ve been able to explore low-fidelity interventions that bring joy, color, shade, and seating, from picnic tables to misting tents. I’m so excited that they’re already serving as dynamic spaces to promote city resources like Rental Relief Office Hours, Summer Eats pickups, and more.

In some locations, like Egleston and Codman Square, the libraries sit right on the street, where outdoor work cafes serve as much needed shade and a welcoming entrance into the library for passersby. At other locations, like Mattapan and Brighton, dedicated patio areas off the parking lots have huge potential to become permanently shaded cafe areas — we’ve already seen outdoor WiFi usage double at Brighton after installing more comfortable seating and shade.

As David Leonard, President of the Boston Public Libraries, told us in a conversation with myself and other MONUM fellows this summer, “a library is about the space and the programs that animate them.” Libraries consistently poll as the most trusted public institution in the United States. Public libraries in the U.S. began as literary salons, where groups gathered to discuss the latest publications and debate the issues of the day. I wonder, as we explore the unique potential of each library branch in the city, how we could further invest in their potential as civic hubs: outposts of the city’s services, a gathering place for civic dialogue, and a place where people from all walks of life can come together in a truly public space.

Boston is where American libraries as we know them today got their start. The Central library at Copley opened in 1854 as the first large collection that was free to the public. When the East Boston library opened in 1870, it was the first branch library in the United States. Even as physical records give way to a digital world, the role of libraries is more important than ever. The future of BPL is bright — and it may be so much bigger than we know.

Liz wants to make Boston the country’s most equitable and creative city. Liz moved to Boston in 2009, and fell in love; after 10 years as a user experience designer and researcher working in gaming, indoor agriculture and IoT, she’s working to apply her diverse interests towards the design of the city. She holds a B.S. in Communication Design from Emerson College, and is starting a Master’s in Urban Planning at Harvard Graduate School of Design this fall. Liz has served on the Board of Directors of the Transformative Culture Project since 2014, a non-profit focused on increasing access to creative careers for youth in Boston.

Posted by: bluesyemre | August 3, 2021

Time it takes a hacker to brute force your password

Posted by: bluesyemre | August 3, 2021

BIMNesne (Dijital Yapı Kütüphanesi)

Revit, ArchiCAD, SketchUp, Vectorworks, AutoCAD vb. yapı bilgi modellemesi nesnelerini ücretsiz indirin. BIM yazılımlarında kullanılabilecek bilgi yüklü 3 boyutlu modellere BIM nesnesi ismi verilir. BIM nesneleri içerdikleri maliyet, enerji, yalıtım değeri gibi çeşitli bilgilerle yüklü olmaları sayesinde tasarım ve uygulama süreçlerinde birçok avantaj sağlamaktadır.

Posted by: bluesyemre | August 2, 2021

#CahitBerkay Film Müzikleri Konseri

Posted by: bluesyemre | August 2, 2021

Average number of days per year with #precipitation

Redbridge Central Library’s curated display of books on the subject of death and dying. Photograph: Martin Godwin/The Guardian

Scheme that started in Redbridge to help people talk about difficult subject is rolled out across country.

In the middle of Redbridge central library in Ilford, among all the bookshelves and displays, is a phrase that may surprise some visitors: “The death-positive library.”

The sign sits above a collection curated to help people deal with death, dying and loss, including books by former England footballer Rio Ferdinand, the late American novelist Toni Morrison, and anthropologist Sue Black.

The initiative, intended to encourage people to talk more openly about death and dying, is not simply about book recommendations. Death Positive Libraries, a scheme that started in Redbridge in 2018, uses activities, art and literature to remove barriers to talking about the subject – including reading groups, author talks, film screenings, art installations and “death cafes” where people can meet for conversation.

Redbridge is one of three library services in the UK – the others being Newcastle and Kirklees – that have joined the initiative. And now, as the pandemic death toll continues to rise, it is set to be rolled out nationwide.

So far 58 libraries have expressed interest to the charity Libraries Connected, which is working with the three libraries and academics from the University of Northumbria on a framework to help all libraries become death-positive.

Even though libraries have not been able to physically open throughout the whole of the pandemic, there has been huge demand for them, said Anita Luby, head of cultural services at Redbridge. More than 5,000 people have attended their digital events in the last year.

“In the current climate, we have been prompted to think more about loss: the loss of normality, loss of work or income, and the loss of loved ones,” she said in the Libraries Connected proposal. “It’s well understood that we’re all going to die but the problem is that we just don’t talk about it. We avoid planning for it and feel awkward around people who are grieving. In our society, death is an even bigger taboo than sex.”

Victoria Dilly, future funding project manager at Libraries Connected, said: “Libraries can be that safe trusted space in the community to have conversations that might not always be welcome in every area of society … Having a space where those conversations can happen with caring staff on hand to support is actually really powerful.”

Luby said 60% of participants said they felt more comfortable talking about death in a library.

Dr Stacey Pitsillides, vice-chancellor’s senior research fellow in the school of design at Northumbria University, has created online and physical works that encourage people to engage with the subject. She said literature, art and design offered “gentle entrance points into what is a vast, complex, difficult, challenging and traumatic topic at times.”

She added: “Particularly in a pandemic and particularly in this time when we all are quite traumatised by it, these gentle entrance ways are so important to get people to see it as a part of society. And the libraries can be part of that because they are a gentle and sensitive part of society, they’re something that sits within the community.”

Kirklees Libraries said their online death-positive events had attracted a global audience during the pandemic. Katie Hornby, a customer service manager, said that when they started the project, they “had no idea how relevant and important this work would become in the face of the pandemic”.

At Redbridge Central library cafe, accountant Kay Rawson, 57, said she had never heard of the concept of “death positive” before, but agrees that the subject should be discussed more and that libraries are a good place for it. “I think I’m naturally death-positive. It shouldn’t always be a difficult subject to discuss.”

On Monday, the International Federation of Library Associations and Institutions (IFLA) announced the five finalists for the annual Public Library of the Year award, which honours newly built public libraries. Libraries are assessed according to how they combine functional architecture, information technology, and local culture. This year’s shortlisted institutions include libraries in Australia, Belgium, Norway, the Netherlands and China.

Marrickville library, Australia

Located in Sydney’s inner west, the new Marrickville library is a three-storey, 3,600m² purpose-built library. It was constructed on the site of the long-closed Marrickville hospital. The hospital was shuttered in 1990. The council acquired the land a few years later and had planned to build a community centre there. They didn’t get development approval until 2017.

Photograph: The Moment It Clicks Pty Ltd/Inner West Council

Het Predikheren, Mechelen, Belgium

This building, now a public library, is a former monastery abandoned in 1975. The whole baroque building has been restored and has a square ring outlay, with the outer ring consisting of office spaces and classrooms and an inner ring with a courtyard, attic and church. ‘The features of the original construction have been rigorously respected,’ the IFLA judges say.

Photograph: Jasper Jacobs/PA Images

Deichman Bjørvika, Oslo, Norway

This five-storey waterfront library holds up to 450,000 books under its large skylight. Sitting next to the Oslo Opera House, the library was renovated as part of the Fjord City urban renewal project.

Photograph: Bloomberg/Getty Images

Forum Groningen, the Netherlands

Described as a ‘cultural department store’, this building holds not only a library but also a cinema, exhibition space, parts of the Groninger Museum, a media lab, restaurant and rooftop terrace.

Photograph: Lars Fortuin/Alamy

Ningbo New Library, Ningbo, China

About 200km south of Shanghai, the Ningbo New Library is a cultural hub, comprising a children’s library, a 24-hour library, a library for the visually impaired, two lecture halls, a café, and a grand reading room. The ground floor connects to a public plaza and a wetland.

Photograph: Schmidt Hammer Lassen Architects/Adam Mørk

İstanbul Sözleşmesi Nedir, Kadınları Nasıl Koruyor?
Peki İstanbul Sözleşmesi Nedir Ve Tartışmalar Nasıl Başladı?
İstanbul Sözleşmesinin Temel Noktaları Neler?
İstanbul Sözleşmesi Kadına Karşı Şiddeti Nasıl Tanımlıyor?
İstanbul Sözleşmesinin Tarafları Hangi Yasal Adımları Atmakla Yükümlü Kılıyor?
İstanbul Sözleşmesi’ne Karşı Çıkanlar Ne Diyor?
İstanbul sözleşmesi dünyada nasıl?

Posted by: bluesyemre | August 2, 2021

Top 50 Progressive Rock Songs

The joke writes itself: “How do you know when a prog tune ends?” “When it’s time to flip the record over.”

In all seriousness, picking the best progressive rock tracks can be tricky on a practical level — projects like Tubular Bells and Thick as a Brick blurred the line between “song” and “album” in the first place. And other pieces, like Genesis epic “Supper’s Ready,” are so expansive that it feels weird comparing them to four-minute singles. Then there’s the issue of genre: Can a non-prog band moonlight with a song or two? And should pop-friendly moments from canonical prog bands be on the table? Ah!

Decisions, decisions — but, ultimately, fun ones. If Yes can solve the creative puzzle that birthed “Close to the Edge,” we can suck it up and put this list together — even if we lose a little sleep in the process. What other musical style could spark such nerdy debate and deep thinking?

So take the Roundabout, travel down the Inca Roads and head for the Court of the Crimson King. Behold our Top 50 Progressive Rock Songs.

50. Aphrodite’s Child – “The Four Horsemen”
From: 666 (1972)

It’s the emotional anchor of Aphrodite’s Child‘s third and final LP, 666, building a dramatic psych-prog atmosphere befitting lyrics of biblical apocalypse. “And when the lamb opened the first seal / I saw, I saw the first horse / The horseman held a bow,” Demis Roussos quivers angelically over timid wind chimes and a Vangelis organ that seems to part the clouds from heaven. Naturally for a song about the Book of Revelation, we end with a “fa fa fa” sing-along.

49. Area – “Luglio, agosto, settembre (nero)”
From: Arbeit macht frei (1973)

Area cemented their brand of fusion-infused chaos with “Luglio, Agosto, Settembre (nero),” which opens the Italian band’s debut LP. The amount of changes is vast: anti-war spoken word in Arabic, dizzying violin and sax riffs in 7/8 and Demetrio Stratos’ inimitable, octave-leaping voice. But it all feels fluid and purposeful, earning a visceral response from each arrangement idea — the tempo acceleration at 2:30 is one of the most thrilling moments in prog history.

48. Audience – “The House on the Hill”
From: The House on the Hill (1971)

It’s debatable whether Audience fully crossed the threshold from art-rock to prog, but there’s no doubt about the gothic, gloriously rambling closer from their third LP. “The House on the Hill” highlights all of the British band’s distinctive flavors: Howard Werth’s clipped vibrato and flowing classical guitar (an instrument rarely utilized in a pure rock context), Keith Gemmell’s torrent of flute and sax (here sliding into jarring, echoing dissonance in the solo section), Trevor Williams’ booming bass riffs and Tony Connor’s jazzy finesse behind the drum kit. It’s a perfectly strange combo for such a demented storybook tale. “There’s a King Rat who wears a judge’s black cap,” Werth sings. “And I wouldn’t go near the house on the hill.” Um, advice taken!

47. U.K. – “In the Dead of Night”
From: U.K. (1978)

U.K. arrived at a more concrete personality on their second LP, with Terry Bozzio adding immediacy and edge to the rhythm section. But “In the Dead of Night,” which kicks off the prog supergroup’s debut, is still their definitive track: forceful and atmospheric all at once. In five and a half minutes, the quartet deftly balances its heaviest and jazziest elements, moving from John Wetton‘s scratchy belting to a torrential guitar solo described thusly by drummer Bill Bruford: “94 seconds of liquid passion married to a blinding technical facility that was to go down in the annals of rock guitar history.”

46. Bubu – “El Cortejo de un Día Amarillo”
From: Anabelas (1978)

Every turbulent second of Anabelas, Bubu’s lone ’70s LP, is worth exploring. But this Argentinian band needed only one song to rank among the obscure greats. “El Cortejo de un Día Amarillo” makes for a grab bag of references: PFM, Gentle GiantLizard-era King Crimson, big-band Frank Zappa. Ultimately, though, the piece sounds like only itself, bundling psychedelic guitar, funky rhythms and fusion saxophone freak-outs into a 20-minute tangent.

45. Sebastian Hardie – “Four Moments”
From: Four Moments (1975)

Australia wasn’t exactly a hotbed for ’70s prog. But the high points of Sebastian Hardie’s two LPs — still largely obscure outside of their native country — deserve a seat at the table with the era’s usual suspects. “Four Moments,” their debut’s four-part opener, sails the high seas of synth cheese — it’s a bit stuck in time. But it’s also beautiful, packing a handful of classic melodic themes (the central springy keyboard line, the regal mellotron section) into a 20-minute mini-symphony.

44. Happy the Man – “Stumpy Meets the Firecracker in Stencil Forest”
From: Happy the Man (1977)

If you were to rank all the big prog countries by musical quality and originality, the U.S. would fall middle of the pack at best — well short of England, Italy, France and Germany. Happy the Man are one of the few American heavyweights, releasing a trio of classic LPs that balance quirky melodic interplay with fusion-y chops. The flashiest moment from their self-titled debut is instrumental “Stumpy Meets the Firecracker in Stencil Forest,” offering a wide dynamic range (check out the time and tempo change at 1:00) and making even the wildest flights of fancy (solos on Moog and saxophone) feel accessible.

43. Big Big Train – “The Underfall Yard”
From: The Underfall Yard (2009)

Most bands that channel classic prog sound like weak imitations — low bit-rate MP3s compared to near-mint vinyl pressings. Big Big Train have overt influences of the ’70s British symphonic school, notably Genesis and Yes. But they’re one of the few modern prog acts nodding to the past tastefully, with their own subtle variations in tone. On “The Underfall Yard,” a 23-minute epic about Victorian engineers, they amass towering sonic sculptures from layers of keyboards, guitars and flute — refined and elegant, even at their heaviest.

42. Can – “Bel Air”
From: Future Days (1973)

Of all the prog subgenres, “Krautrock” is the most slippery — a loose label rejected by many of the artists it describes. But the qualities most associated with the style — hypnotic rhythms, repetitive riffs, balanced band soundscapes — are clearly present on “Bel Air,” the 20-minute closer from Can‘s fourth LP. Jaki Liebezeit’s funky, grinding drums ground their slow-build between serene groove and freaky ambience, with Damo Suzuki softly cooing throughout the trance.  

41. Caravan – “With an Ear to the Ground You Can Make It”
From: If I Could Do It All Over Again, I’d Do It All Over You (1970)

It’s the definitive Caravan tune, exemplifying the playfulness, breeziness and subtle jazziness of the so-called “Canterbury scene,” which cohered in that region of England during the early ’70s. The four-part track arrives midway through their underrated second LP, pairing singer-guitarist Pye Hastings’ subdued coo with David Sinclair’s distorted Hammond leads and the pastoral flute of guest player Jimmy Hastings.

40. Porcupine Tree – “Arriving Somewhere but Not Here”
From: Deadwing (2005)

Most Porcupine Tree lyrics are dark and depressing (just ask the memes on Google Images), even if the music behind them is more tonally varied. A good example is “Arriving Somewhere but Not Here,” a 12-minute staple from the group’s eighth LP. Bandleader Steven Wilson opens on a supremely bleak note — “Never stop the car on a drive in the dark” — as the arrangement swells from Morse code-like synth goo into chiming guitar arpeggios, mellotron and echoing vocals. Wilson sings of car crashes and deja vu and drinking “poison” — wherever we’re arriving, it isn’t somewhere you want to stay long. But every second of the drive is riveting.

39. Supertramp – “Fool’s Overture”
From: Even in the Quietest Moments … (1977)

Supertramp skillfully balanced prog showmanship with pop-rock craftsmanship, but they rarely waded all the way into the former pool. “Fool’s Overture,” the 11-minute centerpiece of their fifth LP, is a notable exception: Led by multi-instrumentalist and co-frontman Roger Hodgson, the track stretches out from a buzzy synth theme into mournful solo piano and a rousing full-band finale highlighted by John Helliwell’s smooth jazz saxophone. “’Fool’s Overture’ was a pretty magical piece of music that came together out of three different pieces that I had had for about five years,” Hodgson told Something Else! “One day, they all kind of stuck together and became the piece that I called “Fool’s Overture.” It’s still gives me goose bumps playing that piece onstage.”

38. Opeth – “Ghost of Perdition”
From: Ghost Reveries (2005)

Sweden’s Opeth evolved away from harsh metal sounds in the ’10s, but bandleader Mikael Akerfeldt was once the master of a very specific domain: elaborate epics grounded in whisper-to-scream dynamics. “Ghost of Perdition” exemplifies that range, building from minor-key acoustic balladry to death-y distortion with blood-curdling growls. Opeth pulled off this trick time and time again — but never so seamlessly or with such edge-of-your-seat excitement.

37. Van der Graaf Generator – “The Sleepwalkers”
From: Godbluff (1975)

Van der Graaf Generator took four years to follow 1971’s Pawn Hearts, but the long wait was worth it. Every song on their fifth album, Godbluff, is a prog classic, with 11-minute closer “The Sleepwalkers” at the head of the pack. Peter Hammill’s voice — at turns grating and soothing — presents macabre visions (“From what tooth or claw does murder spring / From what flesh and blood does passion?”) over David Jackon’s jittery saxophone and a Hugh Banton’s haunted-house Hammond.

36. Pulsar – “Halloween (Part I)”
From: Halloween (1977)

The album cover might be to blame, but the opening strains of Pulsar’s “Halloween” are incredibly creepy: Despite the major key piano and the innocent-sounding choirboy, the intro projects a sort of foreboding — like looking at a serene photograph of a plane pre-crash. You just know this one’s going somewhere dark. And boy does it: The first side of this album-wide epic sustains tension through droning synths, post-midnight fusion grooves and borderline-gothic balladry.

35. Genesis – “The Carpet Crawlers”
From: The Lamb Lies Down on Broadway (1974)

Corridors, spiral staircases, wooden doors: Peter Gabriel’s images on “The Carpet Crawlers” focus on movement and escape. Rael, the protagonist of Genesis concept LP The Lamb Lies Down on Broadway, is now deep into a surreal journey of the soul, seeking direction at every turn. But this glowing ballad mostly operates on raw emotion, outside narrative, with Gabriel and Phil Collins harmonizing sweetly through the raindrop synthesizers and weeping guitar leads. “We got to get in to get out,” they sing. And so we do — way far out.

34. King Crimson – “Starless”
From: Red (1974)

One of prog’s most adored tracks nearly wound up as a reject. “When I presented the idea — the melody, chords, everything — I got a totally cold reaction. Nobody liked it,” John Wetton told Boffomundo Show of this smoldering King Crimson tune. “So I pouted and stomped out of the rehearsal hall.” Instead, the band finished off their sixth LP with the propulsive, wandering improvisation “Starless and Bible Black.” Months later, while workshopping ideas for follow-up record RedRobert Fripp and Bill Bruford asked if they could revive Wetton’s piece for the corresponding tour, playing it live numerous times in summer 1974. They eventually tweaked the piece even further in the studio, adding ominous bass riffs and jazz-fusion freak-outs to a 12-and-a-half-minute song now titled “Starless.”

33. Frank Zappa and the Mothers of Invention – “Inca Roads”
From: One Size Fits All (1975)

“Did a vehicle come from somewhere out there / Just to land in the Andes?” George Duke asks in a pristine falsetto. Frank Zappa had already satirized hippies, rock operas, American politics — why not also take aim at UFOs? “Inca Roads” could be the composer’s most blatantly prog piece, highlighting the virtuoso skill of his mid-’70s backing band, including percussionist Ruth Underwood (dig those vibes and marimba) and Duke (wow, those synths). And beyond his own vibrant guitar solo, the track also lets Zappa flex his editing muscles, weaving live recordings into this complex tapestry.

32. Yes – “Heart of the Sunrise”
From: Fragile (1971)

“That seemed to have it all,” former Yes drummer Bill Bruford told Rolling Stone. “That was a shorter version of what was to become ‘Close to the Edge’ and some of the longer-form things that we did.” It’s an apt description: In some ways, “Heart of the Sunrise” feels like a practice run for that later side-long epic, flaunting the same amount of brain-rattling counterpoint, structural drama and instantly memorable melodic themes. But “Sunrise” has trouble earning its due — a lot of people overemphasize the possible influence of King Crimson’s “21st Century Schizoid Man,” particularly on the chromatic opening riff. The piece casts a shadow all on its own, not just as a footnote or building block.

31. Pink Floyd – “Dogs”
From: Animals (1977)

Pink Floyd unveiled this 17-minute behemoth, then using the rough title “You Gotta Be Crazy,” live in 1974. But they made some significant tweaks for the final studio version on Animals: dropping the key, taking the weed-whacker to Roger Waters‘ verbose lyrics of human ruthlessness and deception. Every band member is at his peak here: Richard Wright uses a full arsenal of keyboards, creating texture via synth-strings, soulful Fender Rhodes and dissonant Minimoog figures. But David Gilmour is the clear MVP, moving from syncopated acoustic strums to stacked, harmonized electric leads.

30. Camel – “Song Within a Song”
From: Moonmadness (1976)

In the prime Camel days, guitarist Andy Latimer and keyboardist Peter Bardens were completely synchronized — their writing styles, both defined by oceanic melodies and tight band arrangements, were almost impossible to pull apart. No better example than “Song Within a Song,” where synth and flute crescendo into a lightly fusion-y instrumental sprint. “It was something that Pete and I just wrote, at a time when we worked really well together,” Latimer told Prog. “When he had a great idea, I’d just let him go with it, like, ‘Go on, more of that! Keep that bit! No, not that bit!’ and then if I’d got the bit between my teeth, he’d let me go. So it was very much a give-and-take sort of relationship.”

29. Emerson, Lake & Palmer – “Tarkus”
From: Tarkus (1971)

It’s not worth picking apart the goofy lyrical concept for “Tarkus,” which involves the battles of a futuristic armadillo-tank … and, supposedly, the futility of war. Anyway, Greg Lake could make just anything sound profound. His charismatic belting is the engine that keeps this mutant machine running more than 20 wild minutes — allowing plenty of space, naturally, for Keith Emerson‘s virtuoso workouts on Hammond organ, piano and Moog.

28. Premiata Forneria Marconi – “Appena Un Po”
From: Per un Amico (1972)

In their prime, Premiate Forneria Marconi were masters of sonic variation, just as natural lifting you into the heaven as they were yanking you down into hell. “Appena un Po” kicks off their second LP with a definitive example: opening with tranquil dream-sequence harp and mellotron, adding folky layers of nylon-string guitar and flute, descending into discordant darkness with violin stabs and low-octave piano. And that’s just the first three minutes.

27. Banco del Mutuo Soccorso – “Canto Nomade Per Un Prigioniero Politico”
From: Io sono nato libero (1973)

Italy’s Banco del Mutuo Soccorso had sweet acoustic ballads and catchy choruses up their sleeves, but few could match the splendor of their longer, more elaborate works. “Canto Nomade Per Un Prigioniero Politico,” the 16-minute opener from their third LP, leans into the natural drama of Francesco Di Giacomo’s operatic belting and the cache of acoustic and electric keyboards from brothers Vittorio and Gianni Nocenzi. Numerous moments are jaw-dropping: the dissolve into a quiet rim-click drum groove at 1:54, the subsequent rise into a full-band 10/8 attack at 2:40, the transition into dissonance around 4:30.

26. Focus – “Hocus Pocus”
From: Moving Waves (1971)

Otherwise known as “that one ’70s rock song where the guy yodels.” Really, though, Focus cram every second of their signature tune with jolting wackiness. In a performance so virtuosic it borders on hilarious, singer Thijs van Leer also eefs, scats, whistles, uses the overblowing technique on his flute, bounces merrily on his Hammond organ and skyrockets into operatic high notes. But the song is more than novelty acrobatics, grounded by Jan Akkerman’s scorching hard-rock riffs and Pierre van der Linden’s jazz-rock drum solos. (The reworked “Hocus Pocus II” revs up the speed but loses a bit of the nuance.)

25. King Crimson – “Larks’ Tongues in Aspic, Part Two”
From: Larks’ Tongues in Aspic (1973)

“The question I posed myself might be put like this: ‘What would Hendrix sound like playing the ROS or a Bartok string quartet?'” Robert Fripp wrote in his online diary. “If an older man might look back at this and be struck by that young man’s arrogance, well, an ignorance of limitations sometimes allows the young of any age to achieve impossible things!” The guitarist was describing the first two segments of King Crimson’s “Larks’ Tongues in Aspic” series, which added an occasionally free-form spin to the band’s aesthetic. It’s hard to separate these two pivotal pieces, even though they technically booked the group’s fifth LP. But the second part, with its frightening metallic edge, would stand out on any album, even one this unique.

24. Rush – “La Villa Strangiato”
From: Hemispheres (1978)

Rush really should have given the “Exercise in Self-Indulgence” subtitle to “Cygnus X-1 Book II: Hemispheres,” another enormous track from their sixth LP. (Then again, that title already had Roman numerals, a hyphen and a colon, so it would have been tough to fit in anything else.) The instrumental “La Villa Strangiato” may stretch out to almost 10 minutes, drawing moods from Alex Lifeson‘s real-life nightmares, but it’s tasteful and focused overall — full of hard-rock riffs, swinging jazz grooves and volcanic solos.

23. Yes – “Awaken”
From: Going for the One (1977)

“‘Awaken’ is just one of those momentous musical things Yes created,” singer Jon Anderson told Newsweek. To say the least. The centerpiece of their eighth LP, Going for the One, is a miniature rock symphony in the tradition of “Close to the Edge” — full of drastic shifts in texture and tone. The scattered pieces feel like they shouldn’t fit: Steve Howe‘s aggressive main riff, full of harmonic pings and vigorous slides; Rick Wakeman‘s ghostly church organ; Anderson’s new age musings (“Awaken, gentle mass touch!“) But every second is transportive — glimpses of old-school grandeur on a largely scaled-back album.

22. Kansas – “Carry on Wayward Son”
From: Leftoverture (1976)

If only a handful of prog songs have transcended the genre, it’s probably because very few are hooky enough for mainstream rock radio. “Carry on Wayward Son” — Kansas‘ second-highest-charting single, trailing the fingerpicked ballad “Dust in the Wind” — is one of the rare exceptions. It’s intricate enough for the prog-heads, crammed with heavy guitar riffs and unexpected tempo changes. But the chorus, with its stacked vocal harmonies and soaring Steve Walsh lead, make it accessible enough for a stroll through your average supermarket.

21. Curved Air – “Metamorphosis”
From: Air Cut (1973)

Multi-instrumentalist Eddie Jobson was only 17 when he joined Curved Air, effectively replacing keyboardist Francis Monkman and violinist Darryl Way in one hire. But the teenager was more than ready for the gig: Though he stuck around for only one album, leaving to join Roxy Music (then, later, cofounding U.K.), he left behind a legit masterpiece with the 10-minute “Metamorphosis.” Sonja Kristina’s gently operatic vocal offer helps this intricate epic take flight, but it’s mostly Jobson’s playground — from his dramatic synth march to a breathtaking solo piano section that rivals any rock keyboard showcase ever recorded.

20. Gentle Giant – “The Advent of Panurge”
From: Octopus (1972)

Gentle Giant kicked off their fourth album with this strange melting pot of ideas, which borrows lyrical themes from Gargantua and Pantagruel, the 16th-century adventure novel series by French writer Francois Rabelais. The arrangement is bananas: jazz guitar licks, swirling vocal counterpoint, trumpet interjections, heavy rock riffing, a resounding chorus from singer Derek Shulman. “That’s one thing we tried to do: heavy and soft, gentle and giant, together in a seamless way,” the frontman told UCR. “The thing we really enjoyed was surprise: We didn’t want to have people sit in their hands and know what’s coming next, or have pretentious keyboard parts that tried to be like a symphony orchestra. We wanted to keep people on their feet.”

19. Tool – “Lateralus”
From: Lateralus (2001)

Let’s get the super-fan stuff out of the way first. “Lateralus” originated from a knotty bass riff that evolved into measures of 9, 8 and 7 — and drummer Danny Carey happened to notice a connection to the Fibonacci Sequence. (That pattern correlates with the “Golden Ratio,” which appears throughout nature. And 987 is the 16th number in the sequence: 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987.) Driving home the parallel even further, singer Maynard James Keenan wrote lyrical sections in a repeated syllabic format that mirrored the first several numbers. Whew. All that stuff is fun for a bong-side chat, but “Lateralus” is an all-time classic because of the drama and raw emotion Tool bring to the math, whether stripping back the music to Carey’s thick tom patterns or cranking up their amps to the max.

18. The Mars Volta – “Cygnus … Vismund Cygnus”
From: Frances the Mute (2005)

The first sound we hear on the Mars Volta‘s second album is purposely faded and trebly — a strummed acoustic guitar theme shrunk to the fidelity of AM radio, a transmission seemingly captured by accident. Joined by a nursery rhyme vocal melody and a salvo of noise, the piece then erupts in volume and intensity, leading to a Latin-fusion groove that blows you back like the guy in that old Maxell ad. It’s technically the foundation of a heady lyrical concept, but Cedric Bixler-Zavala’s paint-splatter syllables feel like one more color in this kaleidoscope.

17. Harmonium – “Histoires sans paroles”
From: Si on avait besoin d’une cinquième saison (1975)

Harmonium released three studio albums, each varying slightly in the ratio of “prog-folk” to “prog-rock.” But the crown jewel of their catalog is this 17-minute track, which stacks majestic theme upon theme via mellotron strings, 12-string guitars and harmonized woodwinds — not a drum kit in sight! Unlike so many super-long prog songs that thrive on disorientation, “Histoires sans paroles” nurtures one sustained mood of elegance — the perfect soundtrack for crying near a waterfall.

16. Mike Oldfield – “Tubular Bells, Part One”
From: Tubular Bells (1973)

Both sides of Mike Oldfield‘s teenage prog classic are essential, but the first is more iconic. Most of the famous bits are here — including the frosty opening piano theme, immortalized (and made unsettling by association) via The Exorcist soundtrack. (“I’m the godfather of scary movie music,” the composer told The Guardian.) But the remaining 22 minutes are equally gripping: winding through timbres and overdubs, building to the triumphant tubular bell section with fanciful instrument introductions by Vivian Stanshall.

15. Genesis – “The Musical Box”
From: Nursery Cryme (1971)

On this, the first Genesis masterwork, sex and violence smolder underneath a proper, dignified Victorian landscape. Peter Gabriel’s warped fairy tale highlights his growing interest in the surreal, detailing a horny ghost’s attempt to seduce a young girl via musical box. The band — elevated by the firepower of two new recruits, guitarist Steve Hackett and drummer Phil Collins — bring the requisite musical drama, from Mike Rutherford‘s chiming 12-string guitars (tuned, bizarrely, with the top three strings to F#) to a crashing full-band finale. “Touch me now, now, now, now, now,” Gabriel pleads, his voice at peak rasp and his words at peak weirdness. “The Musical Box” was a tough act to follow, but as you’ll see below, Genesis pulled it off.

14. Yes – “And You and I”
From: Close to the Edge (1972)

“The idea was very straightforward at first,” Jon Anderson recalled of this blissful four-part tune. “It was going to be a very pretty folk song that I wrote with Steve [Howe].” But as they tended to do in camp Yes, plans changed: While “And You and I” does feature one of the band’s most stripped-down arrangements (see Howe’s country-tinged strumming on part three, “The Preacher, the Teacher”), it’s also full of tidal-wave mellotron, Minimoog and pedal steel. The most impactful moment — Rick Wakeman’s cosmic keyboard collision during “Eclipse” — couldn’t be further away from folk.

13. Rush – “Tom Sawyer”
From: Moving Pictures (1981)

“Tom Sawyer” isn’t the proggiest Rush song — it’s just the best Rush song in pure prog mode. (“Closer to the Heart” is a jam, but it couldn’t qualify here.) Part of what makes the song stand out is its restraint, like how Geddy Lee initially sings the verse hook over only Neil Peart‘s heartbeat drum pattern and a faint synth drone — when the fidgety riffs kick in, it’s only that much more satisfying. The track’s tale of rebellion — developed by Peart from a poem by lyricist Pye Debois— only add to the mystique. “‘Tom Sawyer’ is a real trademark song for us,” Alex Lifeson told Classic Rock. “Musically, it’s very powerful, and lyrically, it has a spirit that resonates with a lot of people. It’s kind of an anthem.”

12. Pink Floyd – “Shine on You Crazy Diamond Parts I-V”
From: Wish You Were Here (1975)

The backstory of Pink Floyd’s “Shine on Your Crazy Diamond” tends to overshadow the song itself. When former frontman Syd Barrett famously showed up at Abbey Road Studios during the recording, his bloated appearance moved Roger Waters to tears — only underscoring the weight of his philosophical lyric. But the multipart track would have also worked as an instrumental, conjuring storm clouds from David Gilmour‘s main, four-note guitar theme. “When you’re a musician, you’re constantly hunting for little icons, little bits, little phrasings of things which have a memorable aspect to them,” he once said, noting how this pattern captured “the feeling of something calling — some night creature, if you like.” In retrospect, “Night Creature” would have been an equally perfect title.

11. Jethro Tull – “Thick as a Brick, Part I”
From: Thick as a Brick (1972)

For Thick as a BrickIan Anderson‘s ambitious songwriting was limited only by the physical constraints of vinyl. The piece, simultaneously satirizing and celebrating the genre, is technically one 44-minute work split in half — with Jethro Tull setting the epic poem of fictional child “Gerald Bostock” against an ever-evolving backdrop of folk-rock riffs, heavy Hammond organ insanity and flute-driven marches. It’s almost silly to split hairs, but for the sake of sheer excitement, it’s tough to top “Part I.”

10. Genesis – “Dancing With the Moonlit Knight”
From: Selling England By the Pound (1973)

Genesis embrace the extremes of their quintet-era sound — pastoral politeness and hard-edged, fusion-inspired intensity — on “Dancing With the Moonlit Knight.” Peter Gabriel’s twinkly opening section cements the lyrical theme (“the commercialization of English culture,” as he recalled on the Selling England reissue bonus DVD), but the musicianship does most of the talking. “I was starting to listen to Mahavishnu Orchestra,” Phil Collins added, “so I was trying to put my weirdness — my weird time signatures — into anything that would move.”

9. King Crimson – “The Court of the Crimson King”
From: In the Court of the Crimson King (1969)

Drums rarely feel like a “lead” instrument. Then again, drummers rarely play with more panache than Michael Giles, whose sputtering, flailing fills on “The Court of the Crimson King” can still trip you up and leave you scratching your head decades later. Giles’ lightning-in-a-bottle performance elevates “The Court of the Crimson King” into another echelon, but it also stands out because of his bandmates’ subtlety and grace: Robert Fripp’s acoustic arpeggios, Ian McDonald’s sun-ray mellotron, a Greg Lake vocal that softly savors every syllable.

8. Radiohead – “Paranoid Android”
From: OK Computer (1997)

Radiohead may object to this inclusion — multi-instrumentalist Jonny Greenwood has blasted the genre numerous times over the years. “Most of it is awful,” he told Q in 1997. “I’ve got it into my head that prog-rock must be good because it attracted a lot of fans. So far, I’ve just trawled through fairly tedious Genesis albums.” Ironically, his band reached peak prog that very year with OK Computer epic “Paranoid Android.” The harmonic tension, suite-like structure, explosive guitar solo, choral vocal harmonies (the “rain down” section) and 7/8 riffs make this a clear candidate for our list — whether Radiohead like it or not.

7. Yes – “Roundabout”
From: Fragile (1971)

Many of Yes’ proggiest songs began life in intimate spaces. The seeds of “Roundabout,” the band’s definitive ’70s single, were planted by Steve Howe and Jon Anderson during a writing session in a Scottish hotel room. “We had all these bits of music, tentative moments,” Howe told Guitar World. “I was big on intros back then, and the classical guitar intro I came up with for ‘Roundabout’ was really one of the most signature things.” Correct. That flourish, starting off with a perfectly articulate harmonic pluck, became the pivotal starting point. But their bandmates, as always, brought the piece to life: Chris Squire’s growling bass (double-tracked with an electric guitar), Bill Bruford’s stacked percussion, Rick Wakeman’s bluesy Hammond solo. Prog is rarely this much fun.

6. Genesis – “Firth of Fifth”
From: Selling England by the Pound (1973)

Tony Banks is a famously blunt critic of his own band’s work — the keyboard genius would probably even object to “Firth of Fifth,” the sweeping centerpiece of the fifth Genesis LP, even making this list. “Well, it’s not my best lyric,” he told Songfacts, describing the song’s vague flow from a river into the cosmos. “Mike [Rutherford] and I wrote the lyric together, although it was mainly me — I won’t put too much of the blame on Mike.” But the impressionistic words are merely one color on the canvas. Every arrangement choice is staggering — from Banks’ opening classical piano motif to Steve Hackett’s shuddering-vibrato guitar solo.

5. Led Zeppelin – “Stairway to Heaven”
From: Led Zeppelin IV (1971)

UCR’s third-best classic rock song is also a top five prog song, even if it’s rarely mentioned as a pinnacle of the genre. “Well, we always used to think that [Led] Zeppelin was a progressive rock band until it became … a slightly dirty word,” John Paul Jones once said. And “Stairway to Heaven” could be the band’s clearest flag-plant prog move — an eight-minute epic with multiple sections, mystical lyrics, harmonized recorders, a hair-raising guitar solo and a glorious slow-climb from fingerpicked acoustics to hammer-of-the-gods hard-rock riffing.

4. Queen – “Bohemian Rhapsody”
From: A Night at the Opera (1975)

Queen are one of those classic fringe-prog bands. A good portion of their early work fits the bill of grandiosity — on the other hand, no one’s mistaking “Crazy Little Thing Called Love” for a Yes tune. But there’s no arguing against “Bohemian Rhapsody,” still probably the most popular prog-rock song ever written. We’ve all heard it on the radio — and in movies … and everywhere else — so often that we’re numb to its weirdness. How many hit rock songs have stacked choral harmonies, classical piano, key and tempo changes, guitar solos and full-blown operatic sections with references to Beelzebub and Galileo? Queen would never top Freddie Mercury‘s mercurial masterpiece. But who could?

3. King Crimson – “21st Century Schizoid Man”
From: In the Court of the Crimson King (1969)

We’ll all be debating “the first prog song” until we’re dead, but it’s hard to argue against “21st Century Schizoid Man.” In fact, the opener from King Crimson’s debut LP might be even more monumental than that description suggests, pairing a partly chromatic proto-metal riff with surreal lyrics fit for a horror film and a big-band jazz strut (courtesy of Ian McDonald’s Army tune “Three Score and Four”). “You had that sort of free-jazz sensibility, but it was done with rock sensibility,” Steve Hackett told Rolling Stone, recalling how he first heard the song during a Crimson show at London’s Marquee venue in 1969. He added, “We hadn’t really heard anything else like it.” Nobody else since has either.

2. Genesis – “Supper’s Ready”
From: Foxtrot (1972)

It’s a guaranteed eternal perfect prog-rock song. But it’s also demented: Peter Gabriel delightfully inscrutable text nods to Egyptian pharaohs, Christian theology, Greek mythology, “Winston Churchill dressed in drag” and shadowy, supernatural beings; meanwhile, the band cooks up everything from layered 12-strings to treated pianos to carnivalesque pop hooks — and somehow it all hangs together, adding up to a 23-minute spectacle longer than most sitcom episodes. Keyboardist Tony Banks looks back at the piece, particularly the “666” pivot in the “Apocalypse in 9/8” section, as the band’s finest moment. “You have a lot of drama in the chords themselves, then what [Gabriel] did on top just took it to another level,” he told Classic Rock. “Yes, that half-minute or so is our peak.”

1. Yes – “Close to the Edge”
From: Close to the Edge (1972)

How did Yes do this? Seriously? Even beyond the vast emotional impact of “Close to the Edge,” this 19-minute rock symphony is a marvel of construction — like any towering skyscraper or suspension bridge. The band stitched together the song from various fragments, and engineer Eddie Offord was their behind-the-scenes magician, achieving cohesion within the constant tonal shifts. All the brain-smashing counterpoint, psych-fusion doodling (the free-form opening inspired by Mahavishnu Orchestra) and call-and-response serenity — it’s the pinnacle of progressive rock. “Each part of [the song] ‘Close to the Edge’ in itself, is a segment,” Steve Howe told Newsweek, reflecting on the piece’s fluid form. “Like when you take the void in the middle, with the ‘In her white lace‘ and ‘I get up, I get down‘ with the organ. That’s another world.” Come to think of it, “Another World” would have been a pretty good title.

Posted by: bluesyemre | August 2, 2021

CV (Özgeçmiş) hazırlamak için başvurulabilecek siteler

Çok fazla talep gören sitelerin başında gelmektedir. Birçok ücretsiz CV şablonu bulunmakla beraber Türkçe dil desteği de mevcuttur.

En iyi ücretsiz CV hazırlama sitelerinden biridir. Kolay bir şekilde şık bir CV hazırlamanıza imkan sağlamaktadır. 5 adet ücretsiz CV şablonu sunmaktadır.

3 milyonu aşkın üyesi olan bu site sayesinde 3 adımda şık bir CV oluşturabilirsiniz. 3 adet ücretsiz CV şablonu sunmaktadır.

Avrupa Birliğinin de resmi olarak kabul ettiği ‘europass’ formatında CV oluşturabileceğiniz bir sitedir. Avrupa’da bir işe başvuruyorsanız bu site tam size göre olacaktır. Tamamen ücretsiz olmakla istediğiniz formatta indirebiliyorsunuz.

Türk girişimciler tarafından geliştirilen bu site sayesinde ücretsiz bir şekilde CV hazırlayabilirsiniz. 8 adet ücretsiz CV şablonu sunmaktadır.

Onu rakiplerinden ayıran en önemli özelliği tamamen ücretsiz olmasıdır. Kullanılan şablonlar ise gayet şık.

Başvuracağınız sektöre göre şablonları olan ve hazırladığınız CV ücretsiz bir biçimde istediğiniz formatta indirmenize imkan sağlayan sitedir.

Yurtdışı kaynaklı bir işe başvurmayı düşünüyorsanız, bu site sayesinde istediğiniz sektöre yönelik ücretsiz şablonları kullanarak CV’nizi oluşturabilir ve ücretsiz indirebilirsiniz.

Posted by: bluesyemre | August 2, 2021

Tarihe Saygı Yerel Koruma Ödülleri Belgeseli

İzmir Büyükşehir Belediyesi’nin 2003 yılından bu yana sürdürdüğü “Tarihe Saygı Yerel Koruma Ödülleri” İzmir’in gururu oldu. Avrupa ‘da kültürel mirasın sesi olan Europa Nostra; Avrupa Kültürel Miras Ödülleri Jürisi, İzmir Büyükşehir Belediyesi’nin kalıcılığını ve etkinliğini kanıtlamış bu programını tarihe katkısı ve başarısı ile kutladı.

Posted by: bluesyemre | August 1, 2021

Kapadokya with CEAUS (Sight & Sound Sessions #1) Go Türkiye

We are proud to present to you our newest YouTube series: Sight&Sound Sessions! Every episode, we will experience unique environments harmonized with tunes of famous artists! In our first episode, we invite you to enjoy the endless collection of experiences in #Kapadokya!

Posted by: bluesyemre | August 1, 2021

Why we need new rules and tools for cryptocurrencies

  • Cryptocurrencies can make international payments more efficient, convenient and secure, while removing the cumbersome operational and security processes linked to the movement of conventional money;
  • Their growing prevalence raises challenges for regulators who are faced with questions around financial stability and preventing money laundering and the funding of terrorism;
  • To combat these crypto-crimes, regulators need to work alongside technology experts be forward-thinking to design laws that are fit for purpose.

Digital currencies have been around for a decade, yet the regulatory systems governing them are fragmented, ineffective and, in some countries, non-existent. This allows illicit activities to flourish, from fraudulent Bitcoin traders who disappear with your cash to the financing of terrorism and international money laundering.

Digital currencies are the inevitable future, so international coordination and individual country action is required to close the legal loopholes that allow cryptocurrency crime to flourish. Recently, financial and regulatory experts from around the world discussed digital assets and the money-laundering risks they pose in a webinar hosted by Absa, in collaboration with the World Economic Forum (WEF) Global Futures Council and the Financial Action Task Force (FATF).

The challenge for regulators worldwide is to find appropriate regulatory instruments to address the risks emanating from greater adoption of cryptocurrencies. Existing regulatory instruments have limitations in addressing consumer and financial crime and money laundering risks. This has led to increased regulatory scrutiny of cryptocurrencies, as launderers have turned to digital currencies like Bitcoin, Ether and Ripple to “cash out” their profits, bouncing transactions around the world instantly and anonymously.

In a sign of a significant shift in regulatory thinking, the Bank of International Settlements (BIS), owned by 63 member central banks and monetary authorities from around the world, has declared that “cryptocurrencies are not money, but speculative assets that can be used to facilitate money laundering, ransomware attacks and other financial crimes”. This view comes after more than 60 central banks have embarked on digital currency projects since 2014, suggesting that some central banks consider central bank digital currencies as a preferred path to protecting the integrity of the financial system over time.

The recent volatility of Bitcoin has also raised important questions about the long-term viability of cryptocurrencies as an asset class. Similarly, the rise in ransomware and other financial crime incidents has led to growing concerns about regulation and how to deal with emerging Anti-Money Laundering/Combating the Financing of Terrorism (AML/CFT) risks.

It is clear that these new forms of money present both opportunities and challenges for the financial industry, policy-makers and consumers. Digital currencies can make international payments more efficient, convenient and secure, while removing the cumbersome operational and security processes linked to the movement of conventional money, which improves overall economic efficiency.

However, as more ordinary people invest in cryptocurrencies and institutional investors add them to their portfolios, their growing prevalence raises important questions around financial stability and preventing money laundering and the funding of terrorism.

When it comes to combatting these crimes, regulators need to work alongside technology experts, so their laws keep pace with the changes. In addition, regulators need to be forward-thinking and design laws that are fit for purpose and not try to prevent the inevitable.

Furthermore, collaboration is crucial and digital assets require regulation through international cooperation, local enforcement and by authorities technologically equipped to keep track of these very fast developments.

In 2019, FATF introduced guidelines that obliged countries to assess and mitigate the risks associated with crypto asset activities and service providers. It called for service providers to be registered and supervised by competent national authorities. Yet, FATF reports that only a quarter of countries have adopted those guidelines.

While some jurisdictions have put anti-money laundering frameworks in place and sanctioned traders that don’t conform, criminals could quickly move to unregulated countries through this lack of global uniformity. Implementing the so-called travel rule is going to be essential to remove jurisdictional arbitrage. It is also vital to remove the anonymity of asset transactions and collect data about the transactions.

FATF is updating its guidelines and encouraging more information sharing between countries. It agrees that strict regulations wouldn’t stifle innovation but would strengthen the industry and lead to more economic growth.

Here in South Africa, buying crypto-assets isn’t regulated and according to Minister of Justice and Correctional Services, Ronald Lamola, this lack of protection has left consumers extremely vulnerable, with some hopeful investors having lost their money.

Although some trading platforms and financial institutions have implemented the “know your client” (KYC) protocol, this is not a general practice. This renders us vulnerable to syndicates which purchase crypto-assets for money laundering and funding terrorist activities and attempts to circumvent exchange controls and mask illicit financial flows.

Inter-governmental collaboration to create an agile but effective regulatory framework is vital with unified responses to developing trends. While South Africa already has an inter-departmental working group investigating financial fraud, including the police, the Hawks and South African Revenue Services, there are plans to expand that intelligence centre to include crypto-assets service providers.

Other emerging digital assets include CBDCs or Central Bank Digital Currencies. About 20 CBDCs are in development with the People’s Bank of China planning to replace physical cash with a digital currency known as the e-RMB or digital yuan. Chinese citizens taking part in a pilot project in several cities can download an app and enter a lottery to win money to spend with appointed service suppliers.

While it’s a huge infrastructure project, those taking part in the Chinese pilot project agree the digital yuan is convenient, efficient and secure. CBDCs would enhance international trade, and China’s early mover advantage could turn its currency international because of its security.

One challenge is to figure out how to make different CBDCs interact with each other, and the International Monetary Fund is researching the cross-border use of digital money. Questions are being raised which include the impact this “currency substitution” will have if a foreign system is used in parallel to a domestic currency, and whether it will undermine the domestic currency and affect exchange regimes.

Blockchain technology is allowing the world to think differently about money and economic ideas and is creating much-needed innovation in the financial markets. Once scalability issues with blockchain are ironed out and technological solutions reduce the risk of fraud, digital currencies could deliver a positive experience around the world.

Previous financial crises have shown how the world’s systems are interconnected and the speed at which crypto assets could be moved means authorities would struggle to monitor, stop or reverse transactions across those vast networks. Cross-border dialogue is imperative, particularly between technology bureaus to police the situation.

The reality is that cryptocurrencies are a decade old and financial institutions should have responded faster, but tackling issues like the anonymity that allows crypto-crime to flourish can’t be addressed by existing regulations or systems.

We need to do it properly and do it well, so it lasts for the future. This may mean we go a little slower, but if we want to be effective, it’s important that the rules and tools are fit for purpose.

Steffen Kern, Chief Economist and Head of Risk Analysis, European Securities and Markets Authority (ESMA) is co-author of this blog post. The views expressed in this article are those of the author and do not necessarily reflect the views of the European Securities and Markets Authority

Posted by: bluesyemre | August 1, 2021

Mete Gazoz’un Tokyo 2020’deki Final Mücadelesi

Tarihi mücadelede temsilcimiz Mete Gazoz rakibini mağlup ediyor, ülkemize hem olimpiyat tarihindeki ilk okçuluk madalyasını hem de Tokyo 2020’deki ilk altın madalyayı getiriyor!

Posted by: bluesyemre | August 1, 2021

50 Yılın Senfonik Öyküsü – #VedatSakman

50. Sanat yılını senfoni orkestrası eşliğinde özel bir konser projesi ile kutlayan Vedat Sakman’ın Caddebostan Kültür Merkezi performansının kayıtları Resital Sanat Yapım, GRGDN Müzik ve the state51 Conspiracy iş birliğiyle 2 Temmuz’da yayınladı.

21 Nisan’dan itibaren, bu unutulmaz konser performansının her hafta bir şarkısı yayına giriyor. Arka arkaya yayınlanacak olan “Süreyya”, “Tut Şunun Ucunu Götürelim Abi” ve “Yaşamın Gözlerin Kadar Güzel Olsun” parçaları ile “50 Yılın Senfonik Öyküsü” albümü tamamlanmış olacak.

Vedat Sakman’ın müzikal yolculuğunda klasikleşmiş eserlerinin yer aldığı bu albüm bize sanatla geçen 50 altın yılın şahane bir özetini sunuyor.

Fişekli semazen görüntüleri hoşunuza gitti mi? Ama ne güzel işte ışıl ışıl interstellar gibi dönüyor 🙂 Peki ya bir trafik canavarını hapisten kurtaran şahıs? ve bunu reklamlarında oynatan marka? Bunlar hoşunuza gider miydi? Kapitalizm ve para bir araya gelince ne yazık ki her şey unutulabiliyor… 1960’lı yıllarda reklamlarda oynamayı kabul etmeyen ünlülerden, gözümüze baka baka yalan söyleyenleri doğal karşıladığımız günlere çok hızlı geldik… Yarın her yerde ışıklı semazen görmek bu nedenle çok inanılmaz olmasa gerek…. Gerçekleri duymaya hazırsanız bekleriz:)….

Recently, while moving several piles of books (31 titles) from the floor to another place on the floor to make space for my office chair, I experienced a moment of clarity during which I felt like I had arrived at the end of a manic episode and was confronting the aftermath.

Hoarders have been known to describe how seemingly insignificant detritus—an old cup, a yellowed newspaper, a toothbrush—are so meaningful to them that they couldn’t possibly be thrown away.

I, too, was capable of justifying the presence of each of my individual piled up volumes. There was Thomas Bernhard’s Gathering Evidence. Purchased on the recommendation of a friend, begun at some point, set aside not because not good but because quietly usurped, knowing that someday I would get back to young Thomas on his bicycle. The usurper? Javier Marías’s Your Face Tomorrow: Fever and Spear. I wanted to soak in Marías for a little while, but apparently not long enough to finish. Next, Edith Grossman’s translation of Don Quixote, awaiting comparison to the only other one I’d read, Tobias Smollett’s. And adjacent in stack and century, Tristram Shandy, half-finished, waiting for the right mood to strike. Shonagon’s The Pillow Book, uncracked—a purchase inspired by Suzanne Buffam’s A Pillow Book. Bergman’s The Magic Lantern, just begun, which I picked up because Dorthe Nors mentioned it somewhere, and, below that, her story collection Wild Swims…

Other stacks contained more yet-to-be read novels by authors I loved, books bought for research, various computer programming guides, more than one how-to book on writing, an excess of belles lettres, journals, books by friends, and, perhaps the most pathological and well-represented category, various iterations of the book I had to buy to magically solve the problems in whatever project I was currently working on.

I’d purchased all of these books, having been unable to resist jacket copy at the front table of my local indie, Diesel Bookstore, or having ordered from them over the phone after reading a particularly fetching tweet from, say, Adam Moody, or having tracked down some footnoted reference to a used book seller online, or having clicked it to my house via, or—I hang my head in junkie shame—having impatiently Bought It Now from the devil himself.

To friends, I joked that I was in the middle of fifty books. To myself, I pretended that I’d decided to read them all as one big book.

At least one pile had migrated from the sofa, a group of titles at-hand for a class I was planning. But the others? I looked around. There was nowhere left for them to go—no space left on my end table (56 titles) or on the counter on either side of my standing desk (49 titles), and the few shelves not holding cameras or computer equipment were full (27 titles). The den was overflowing already (over 1,000), even after repeated attempts at culling to make space for new arrivals. In our bedroom, my nightstand stack (41, with an overflow pile of 23) had once toppled in the night thanks to a myoclonic jerk of my sleeping arm, waking my wife, who thought it was an earthquake.

An outside observer bearing witness to this largely unread accumulation of books might have seen it as the fallout of a kind of bibliomania, but the truth was that when I examined each volume individually, I genuinely felt that it was only a matter of time before I cracked it open and started—or, more likely, resumed—reading it.

I had tried to stop, had tried to force myself to read only one book at a time. It worked exactly once—the book was War and Peace—and then I was back to my old habits of dipping in and out of narratives, carrying books from room to room, leaving stacks behind me everywhere. To friends, I joked that I was in the middle of fifty books. To myself, I pretended that I’d decided to read them all as one big book.

Salvation came, as it often does, in the form of a word: Tsundoku, Japanese for the tendency to buy books and let them pile up around the house unread. When I stumbled across it, I felt as if someone had reached across the Pacific to shake my hand.

Tsundoku dates from the Meiji era, and derives from a combination of tsunde-oku (to let things pile up) and dokusho (to read books). It can also refer to the stacks themselves. Crucially, it doesn’t carry a pejorative connotation, being more akin to bookworm than irredeemable slob.

Now I use it like a get-out-of-jail-free card.

Instead of castigating myself over new purchases, or for not clearing enough shelf space for the books I already have, or for any other venal book-acquiring sin, I tell myself that I’m “practicing tsundoku.”

“That’s not a pile, it’s a tsundoku,” I say to my wife, the magic word transforming the stack into something unshackled from negative associations, into what I see when I look at it, a tower of potential reading experiences.

It’s a comfort knowing that there are others out there like me, that we have been around for a long time, here and on the other side of the planet, fellow impulse-purchasers, novel half-abandoners, aspirational-title-acquirers—brothers and sisters of the teetering stack. That the haphazard placement of titles around the house is not a mess, but an invitation to serendipitous rediscovery. That the seeming randomness of individual piles is not disorganization, but a potential generator of illuminating juxtapositions.

Lately, I’ve been taking delight in a specific pleasure afforded by tsundoku: Pulling a book out from the middle of a stack, reading a single chapter, or a story, or a passage, and replacing it on top, where it will soon find itself covered by another book—probably newly purchased—to await the day I discover it again, liberate it, and crack it open to continue where I left off.

Antoine Wilson
Antoine Wilson

Antoine Wilson is the author of the novels Panorama City and The Interloper. His new novel, Mouth to Mouth, is forthcoming from Avid Reader Press in January 2022.

Posted by: bluesyemre | August 1, 2021

#İstanbul is the New Cool

Dünya çapında büyük ün kazanmış Les Benjamins markası, Bünyamin Aydın tarafından kurulan ve çok ses getiren bir Türk markası. İşte kısa sürede sıra dışı ve etnik tasarımlarıyla büyük hayran kitlesi kazanan Les Benjamins markasının hikayesi…

Posted by: bluesyemre | August 1, 2021

Ethiopian Journals Online (EJOL)

Ethiopian Journals Online (EJOL) is hosted by Addis Ababa University. The objective of EJOL is to provide a platform to publish local journals online using Open Journals System (OJS) so as to increase participating journals visibility, and to the research convey through open access (OA). The EJOL platform is freely availble to all locally published open access journals in Ethiopia.To participate in EJOL, journals may contact the host AAU.

The strategies and initiatives detailed in this book will empower data librarians, information literacy instructors, library liaisons, and reference staff to successfully incorporate data literacy into their work.

We live in a data-driven world, much of it processed and served up by increasingly complex algorithms, and evaluating its quality requires its own skillset. As a component of information literacy, it’s crucial that students learn how to think critically about statistics, data, and related visualizations. Here, Bauder and her fellow contributors show how librarians are helping students to access, interpret, critically assess, manage, handle, and ethically use data. Offering readers a roadmap for effectively teaching data literacy at the undergraduate level, this volume explores such topics as

  • the potential for large-scale library/faculty partnerships to incorporate data literacy instruction across the undergraduate curriculum;
  • how the principles of the ACRL Framework for Information Literacy for Higher Education can help to situate data literacy within a broader information literacy context;
  • a report on the expectations of classroom faculty concerning their students’ data literacy skills;
  • various ways that librarians can partner with faculty;
  • case studies of two initiatives spearheaded by Purdue University Libraries and University of Houston Libraries that support faculty as they integrate more work with data into their courses;
  • Barnard College’s Empirical Reasoning Center, which provides workshops and walk-in consultations to more than a thousand students annually;
  • how a one-shot session using the PolicyMap data mapping tool can be used to teach students from many different disciplines;
  • diving into quantitative data to determine the truth or falsity of potential “fake news” claims; and
  • a for-credit, librarian-taught course on information dissemination and the ethical use of information.

The ShareArt system calculates how many visitors look at a painting and how much time they spend with it.

We’ve seen augmented reality bring art to the great outdoors, but Italy’s museums are now using cameras to measure the appeal of paintings instead. The country’s agency for R&D has developed a new system that can measure how long you look at and how close you get to a work of art. ENEA’s cameras are placed in the vicinity of artworks to collect data on the amount of observers and their behavior as they stare at the pieces. The collated info defines the “attraction value” of works of art, the researchers behind it told Bloomberg.

More broadly, the so-called ShareArt system is viewed as a way of boosting visitors to museums and galleries after a period of disruptive lockdowns. It could ultimately be used to give certain works more prominence in a collection. The data could also result in changes to the staging of a piece, including how paintings and sculptures are lit and placed in relation to one another.  

Though it dates back to 2016, museums like the Istituzione Bologna Musei have only recently begun rolling out the ShareArt system, notes Bloomberg. Thanks to the tech, researchers are already gaining surprising insights into the way we perceive and interact with art. They found that the average artwork observation time is just four to five seconds, with very few pieces capturing visitors’ attention for longer than 15 seconds. They add that if mask restrictions are dropped, the system will be able to track facial observations without compromising privacy, allowing the team to monitor cognitive reactions, too. 

The ShareArt tool is the latest example of art melding with technology. On the other end of the spectrum, machine learning systems are already mimicking the styles of famous painters and dreaming up psychedelic works of their own. While AR-powered smartphone apps have put entire exhibitions in our pockets.

Posted by: bluesyemre | July 22, 2021

Yurt dışında staj bulmaya yardımcı olacak 8 site

1) Amerika’da etkin olan site, özellikle Los Angeles, New York, Washington DC gibi şehirlerde tasarım, pazarlama, medya, işletme, finans gibi alanlarda staj imkanları sunar. Sitenin en güzel yanı online staj fırsatlarına sahip olması ve özgeçmişten motivasyon mektubuna ve stajlar hakkında ayrıntılı bilgilere kadar birçok konuda blog yazılarına ulaşabilmenizi sağlamasıdır.

2) Yurtdışı staj fırsatlarının yanı sıra öğrenciler için yeni kariyer fırsatları, yaz okulları, gönüllülük programlarına da sahip olan site, ilk olarak 11 yıl önce Güney Afrika’da kurulmuş ve günümüzde dünya çapında aralarında İspanya, Yeni Zelanda, Amerika ve Kanada’nın da olduğu 25 ülkede faaliyet göstermektedir. Site, özellikle pazarlama, makine mühendisliği, mimarlık ve tıp konularında staj arayışında olanlar için zengin imkanlara sahiptir. Aynı zamanda eğitiminiz sürerken, 4 haftalık kısa süreli yaz stajları da bularak, yurtdışı çalışma deneyimi kazanmak için oldukça popüler bir yolu da tercih edebilirsiniz.

3) Staj arayanların bir form doldurarak danışmanlarla etkileşim halinde olacağı site, 100’den fazla şirketle bağlantılara sahiptir. Mashable, Forbes, Huffington Post gibi önde gelen medya sağlayıcıları tarafından kariyer odaklı en iyi web siteleri arasında yer alan YouTern, bugüne kadar binlerce öğrenci, yeni mezun ve genç profesyonele yardımcı olmuştur.

4) Job Monkey, dünyanın her yerinden uluslararası öğrencilere, çok çeşitli alanlarda staj ve iş imkanları sunan faydalı sitelerden biridir. Sitenin en güzel tarafı, sadece Amerika, İngiltere gibi popüler ülkelerin yanı sıra özellikle Çin, Hindistan, Malezya, Japonya, Singapur gibi Asya ülkelerinde staj fırsatı sağlamasıdır. Job Monkey, dünya çapında seyahat etmek, yeni bir ülkede kariyere başlamak ve bunu yaparken de iyi para kazanmak isteyen öğrenciler ve yeni mezunlar için oluşturulmuş, 80’den fazla sektörden iş ve staj imkanlarına yer veren harika bir sitedir.

5) Öğrencileri, işverenleri ve yüksek öğretim kurumlarını tek bir çatı altında birleştiren dünyanın en büyük öğrenci odaklı staj sitesidir. Sitenin Amerika’ya yönelik olduğunu ve öğrencilere 149 binden fazla şirkette, 23 binden fazla açık staj pozisyon sunduğunu belirtmekte fayda var. Bunların yanı sıra, iş imkanlarını da araştırabileceğiniz site, yurtdışı staj arayanlar için de mükemmel bir kaynaktır.

6) Yurtdışında okumak, yurtdışı staj yapmak, gönüllü organizasyonlara katılmak ya da iş aramak istiyorsanız, IdeaList tam size göre bir sitedir. Çok kullanışlı bir arayüze sahip IdeaLıst, yurtdışı staj aramaları için özel bir sekmeye sahiptir. Böylelikle staj yapmak istediğiniz ülke ve şehire göre arama yaparak, çalışmak istediğiniz sektörlere göz atabilirsiniz. İngilizce ve İspanyolca dil seçeneklerine sahip IdeaList, 1.4 milyon aylık ziyaretçisiyle öğrenciler ve mezunlar için ideal bir sitedir.

7) Amerika’nın popüler şehirlerinde zengin yurtdışı staj programlarına sahip WayUp, aynı zamanda ücretli stajlar ve yaz stajları için de idealdir. Bugün aralarında Unilever, Nielsen, L’Oreal, Johnson&Johnson, Disney, Starbucks gibi dünyaca ünlü şirketlerin olduğu site; biyoloji, bilgisayar bilimi, mühendislik, moda, mimarlık, hemşirelik, ekonomi gibi alanlarda New York, San Francisco, Chicago, Denver gibi şehirlerde geniş yelpazede staj fırsatları sunar.

8) Yurtdışı eğitim, staj, gönüllü hizmetler, burs, iş ve daha birçok konuda hizmet veren site, özellikle yurtdışında staj programları arayan öğrenciler için idealdir. Seçtiğiniz sektörde, aralarında Japonya, Almanya, İspanya, Avustralya, Güney Afrika ve İngiltere gibi popüler ülkelerin yer aldığı işletme, hukuk, tıp, pazarlama gibi en çok tercih edilen alanlarda yurtdışı staj yapma imkanı sağlayan site, öğrencilerin uluslararası deneyim kazanmalarına yardımcı olacak becerileri kazanmaları için hizmet veren faydalı bir sitedir.

Posted by: bluesyemre | July 21, 2021

iFixit (Learn to fix just about anything)

iFixit is a wiki-based site located in the United States that teaches people how to fix almost anything. Anyone can create a repair manual for a device, and anyone can also edit the existing set of manuals to improve them. Our site empowers individuals to share their technical knowledge with the rest of the world.

1)Başlangıç Seviyesi (Beginner) için:

English for Students:

İlginizi çekebilecek pek çok konuda kısa hikaye bulabilirsiniz.

2) Fable Cottage: Bu sitede yer alan kısa hikayeleri, aynı zamanda dinleyebilirsiniz.

Orta Seviye (Intermediate) için:

3) Mentalfloss:

Magazin dergisi tadında seviyenize uygun yazılar okuyabilirsiniz.

4) Onlinereadfreenovel: Bu sitede roman okuyabilir ve aynı zamanda dinleyebilirsiniz.

İleri seviye (Advanced) için:

5) Manybooks:

50 binden fazla ücretsiz roman ve hikaye kitabı sunan bu sitede farklı dillerde yazılmış kitaplar bulabilir ve aynı zamanda bilgisayarınıza indirebilirsiniz.

6) LibriVox: Bu sitede yer alan kitapları dilerseniz okuyabilir, dilerseniz de dinleyebilirsiniz.

7) Birçok kütüphanenin veri tabanına ulaşabilir, dilediğiniz konuda okumalar yapabilirsiniz.

Posted by: bluesyemre | July 21, 2021

#OpenAccess Books

This month we look at the growth of Open Access Books. We look at some key statistics from the Directory of Open Access Books (DOAB) and examine the rapid growth in OA Books.


The Directory of Open Access Books (DOAB) was originally developed in 2012. It is one of three platforms run by the Netherlands-based OAPEN Foundation and France’s OpenEdition. OAPEN provides infrastructure for OA books and promotes their awareness and discovery. It was originally an EU-funded project and became a foundation in 2010.

OAPEN’s other two platforms include the OAPEN Library OA book repository, and the OAPEN Open Access Books Toolkit for authors. The DOAB covers a superset of books in the OAPEN Library, so we use its data for the most comprehensive coverage. The DOAB focuses on academic books, which must be made available under an open access licence and be subjected to independent and external peer review prior to publication.

Growth of the DOAB

We first analyzed the total number of titles in the DOAB and their licenses, as shown in Figure 1, below. Figures for 2021 are YTD to end of June 2021; all other numbers are full year.

Source: DOAB, Delta Think Analysis.

We can see that the DOAB now indexes over 30,000 titles.

  • The charts show the cumulative number of titles growing over time.
  • License proportions are largely consistent over time.
  • Just over 71% of titles use CC licenses.
  • CC BY-NC-ND licenses are the most common (32% of the index).
  • CC BY licenses are the second-most common (24% of the index).
  • The numbers above do not include the circa 5,000 titles with submission dates unspecified in the publicly available data. (At the time of writing – July 2021 – the team at the DOAB are working on a fix.) We have excluded these titles from the chart above. Subscribers to our OA Data and Analytics Tool will be able to see the updated figures when they are released by the DOAB.
  • Submissions for 2010 and 2011 were imported from an OAPEN service set up in 2010.

Make-up of the DOAB

The overall proportions of licenses in use by the index remain fairly constant over time. However, within the averages we see some interesting things depending on language and publisher.

The figure above shows how the different languages making up the index relate to license types. Each horizontal bar represents a license. The colors show how the titles under each license are split between languages.

  • Overall (the top bar), English is the most common language covering 55.5% of the index with German second (17.4%) and French third (15%). The remaining 12.1% of titles are split between around 40 languages in total. The most prevalent licenses are shown above; the rest form a long tail.
  • English accounts for 72.6% of CC BY and 78.2% of CC BY-NC licensed books.
  • Compare this with German, which accounts for 60.7% of CC BY-SA and 50.1% of CC BY-ND.
  • French covers the largest share (53.3%) of non-CC or unspecified licenses.

The figure above looks at how the largest publishers contribute to the index, and their preferred licenses. Each horizontal bar represents a license. The colors show how the titles under each license are split between publishers. The length of the bars show the total # titles in the index, so you can see the relative weight of each.

  • The 10 largest publishers together account 47.9% of the index (top bar). Another 460 or so publishers make up the remaining 52.1% of the titles.
  • The largest publishers are now IntechOpen (13.2% of titles), MDPI (6.8%), then de Gruyter, Peter Lang and Springer Nature (ranging from 4.7% to 4.5%).
  • Most publishers favor CC BY or CC BY-NC-ND licenses. CC BY is the most common for the majority. However, note that MDPI publishes more under NC-ND than BY.

The underlying data (not shown here) reveal historical patterns in publishers’ growth. 2019’s figures were boosted by IntechOpen, KIT Scientific, and Peter Lang International adding significant numbers of titles. Before 2015, the current top 10 publishers accounted for only around 10% of the index.


The DOAB has seen explosive growth over the last few years. Over the 3 years to 2020, its CAGR was 53%, compared with 14% for OA journal articles. (5-year CAGRs to 2020 are 60% for the DOAB and 15% for journals).

Although some of this is likely a result of the infrastructure becoming more widely adopted, it’s clear that OA books are gaining traction. Growth is driven by larger organizations coming on board, plus a growing long tail of publishers joining OAPEN. The likes of Springer Nature, De Gruyter, KIT, and T&F have been longstanding contributors to the index.

The explosive growth of books should also be put in the context of “high growth from a low starting point”. Absent a definitive index of academic books, we sampled data from a few publishers. The results suggest that barely 1% of their output is in the DOAB on average. So, as with journal article output, we may see growth rates start to fall towards a steady state after the initial cohort of titles is made open.

Comparing patterns in books with those in journals shows that there is a similar level of consolidation in the market. The 10 largest publishers account for around 50% of both books and journal output. License usage, however, appears to be different for books: CC BY-NC-ND appears to be far more prevalent in books compared with journals. Books are different beasts to journals, so it’s likely that authors and publishers want greater restrictions intended to “protect” long form scholarship, which is so central to tenure and promotion in Humanities and Social Sciences and also to afford greater commercial opportunities around print and other formats.

With so many unknowns in the current data set we will need to wait for updates to complete a full analysis. We will run further analysis as more data become available to us.

This article is © 2021 Delta Think, Inc. It is published under a Creative Commons Attribution-NonCommercial 4.0 International License. Please do get in touch if you want to use it in other contexts – we’re usually pretty accommodating.


EIFL agreements result in increased OA publishing – July 8, 2021

“Romy Beard, EIFL Licensing Programme Manager, analyses the amount of research published in open access in 2020 by authors from EIFL partner countries, to find out if EIFL-negotiated agreements are making a difference.”

Researchers from low-income countries to benefit from APC-free OA publishing in all IOP Publishing journals – July 6, 2021

“Researchers from low-income countries can now publish open access (OA) for free in any IOP Publishing (IOPP) fully OA or hybrid OA journal. Article publication charges (APCs) will be automatically waived for researchers from countries defined as low-income by the World Bank, with no need for the author to request a waiver.”

Introducing a new OA pilot: Flip it Open – June 30, 2021

“A new Open Access pilot scheme from Cambridge University Press will turn conventional publishing models on their head by making academic monographs that sell the most copies available online for free. The initiative, called Flip it Open, will see selected books published and sold as normal, primarily through library collections for universities. But once a title meets a set amount of revenue, the Press has committed to make it freely available online.”

AAAS Plan S Compliance Policy: Staying Committed to Subscriptions – June 28, 2021

“Back in January, the American Association for the Advancement of Science (AAAS) announced a pilot to allow authors funded by cOAlition S organizations that have adopted the Plan S Rights Retention Strategy to place a CC BY or a CC BY-ND license on their accepted manuscripts and to share them without embargo…”

NorthEast Research Libraries and Center for Research Libraries join growing movement to support Directory of Open Access Journals in the USA – June 24, 2021

“The Directory of Open Access Journals (DOAJ) is delighted to be entering into a new agreement with the NorthEast Research Libraries Consortium (NERL) and the Center for Research Libraries (CRL) in the United States. The arrangement will allow for greater support to DOAJ from the more than 300 members of the two consortia.”

The Microbiology Society: Increasing transparency and openness – June 18, 2021

“The Microbiology Society is pleased to announce three new initiatives that provide article-level metrics of all Open Access (OA) articles published by the Society’s six journals. Using these routes, the Society is rising to the challenge of providing the data to stakeholders, when, where and however they need, be they Open Access (OA) managers, librarians, consortia managers, funders, those with Publish and Read transformative agreements, those subscribing institutions considering converting and those with articles paid by an APC.”


July 13, 2021Emerald Publishing collaborates with the China Centre for Internet Economy Research to launch new open access journal“Emerald Publishing has collaborated with the China Centre for Internet Economy (CCIE) Research to launch the Journal of Internet and Digital Economics. The journal is dedicated to become the first comprehensive open-access economic journal focusing on the basic theories, empirical applications, and policy implications of internet and digital economics, an emerging field of economics that has been expanding rapidly since the late twentieth century.”
July 1, 2021Oxford University Press launches Oxford Open Economics, the latest in the Oxford Open journal series“Oxford University Press has today announced the launch of Oxford Open Economics, the fifth title in its flagship Oxford Open journal series. Oxford Open Economics is a fully open access journal publishing research covering all areas of economics, including theoretical, empirical, applied and policy-oriented work, and extending from macroeconomics through microeconomics and all relevant fields.”
July 1, 2021Coming Soon: Gastro Hep AdvancesGastro Hep Advances is the newest peer-reviewed journal published by the American Gastroenterological Association (AGA)…Gastro Hep Advances is a broad-scope, online-only, open access journal that publishes papers on basic, clinical and translational gastroenterology and hepatology. The open access model enables authors with funding mandates to have a high-quality home for their research.”
June 25, 2021Journal of Refractive Surgery Case Reports launches inaugural issue“SLACK Incorporated is pleased to announce the official launch of the new digital, open-access journal, Journal of Refractive Surgery Case Reports (JRS Case Reports). Edited by J. Bradley Randleman, MD, the quarterly, peer-reviewed Journal will include high-quality case reports that focus on research as related to the clinical practice of refractive surgery and lens-based procedures.”
June 23, 2021IOP Publishing and the Songshan Lake Materials Laboratory launch open access journal – Materials Futures“IOP Publishing and the Songshan Lake Materials Laboratory (SLAB), in affiliation with the Institute of Physics, Chinese Academy of Science, are launching a new open access journal covering all areas of basic and applied materials science and technology.”
June 17, 2021SLAS Announces Open Access Journal Publishing with Elsevier in 2022“The Society for Laboratory Automation and Screening (SLAS) is pleased to announce the transition of SLAS Discovery and SLAS Technology to a Gold Open Access publishing model as of January 1, 2022. SLAS will partner with Elsevier, which will make both journals available through its online platform, ScienceDirect, in turn, making articles instantly and easily accessible to scientific audiences worldwide.”

Posted by: bluesyemre | July 21, 2021

Gelir elde edilebilecek 5 site

1) Bizdeki bionluk’un orijinali. Yeteneğinize göre burada verebileceğiniz hizmetin sınırı yok. Resim, tasarım, video da yapıp satabilirsiniz, çeviri de yapabilirsiniz, müziğinizi de satabilirsiniz. Ücretsiz yazılımları kullanarak yine hizmet verebilirsiniz.

2) Upwork’te ise işverenler belli bir iş için ilan açıyor, siz o işi yapmak için başvuruyorsunuz. Burada daha uzun vadeli ve yüksek bütçeli işler oluyor. Mesela İngilizce kitapları kontrol edecek editör ilanlarından +100$ kazanabilirsiniz.

3) Upwork ve Fiverr gibi freelance işler alabileceğiniz bir site. Logo tasarımından 3D modellemeye, uygulama yaptırmadan veri girişine çeşitli işler mevcut yine. Buralarda yapılan neredeyse her işi öğrenebileceğiniz onlarca kaynak var internette.

4) Özellikle el işi üretimlerinizi satabileceğiniz bir site. Takı yapıyor olabilirsiniz, örgü yapıyor olabilirsiniz. Yine elinizden çıkan her işin bir alıcısı oluyor. Mesela, ülkemizden ek iş olarak boyadığı taşları ABD’ye satanlar bulunuyor.

5) Fotoğraf ve video çekmeyi seviyorsanız bunları satabilirsiniz. Haberlerde, web sitelerinde, reklamlarda gördüğümüz hazır görseller bu sitelerde bulunuyor. Burada her satışdan ortalama 5-15$ kazanabilirsiniz.

Posted by: bluesyemre | July 21, 2021

Making History With 25 Million Annotations

I Annotate 2021 logo with open book with hands writing in it and beside that are the words I Annotate 2021 and Reading Together.

Back in February 2021 we reached a whopping 20 million annotations. Now just a quarter of a year later and we’ve shattered that record with a new milestone: 25 million annotations. Wow! Our dream of annotating all knowledge seems to be on the road to becoming a reality. We used to mark every millionth annotation, but they’re piling up so fast that we can only shout out big jumps like these — or we’d be celebrating all the time. Please share pride in this milestone with us, because of course this accomplishment is not only ours; it belongs to each and every one of you annotators, as well as to your students, your colleagues, and your organizations and institutions.

Here are some other numbers we’re celebrating: Over 300 schools are using Hypothesis formally and are part of the AnnotatED community, and over 700 more schools are starting to engage with social annotation informally. The total number of registered annotators is over 845K. Together, they have annotated over 1.6 million different documents.

What else has been happening?

We just wrapped up I Annotate 2021, the 8th annual conference all about open annotation practices and technologies. For the first time since the inception of I Annotate — way back in 2013 — we held the conference in an all-virtual setting. Holding the event fully online enabled record new participants, with over 700 registrants from every rounded corner of the globe and attendants from over 50 countries. Get the entire skinny here, including a link to the full program, with session detail pages where you can view specific recordings and resources. You can even annotate the program itself, and annotate video transcripts of each session while you watch recordings.

In more big news, we’re thrilled to announce a new coalition: Social Learning Across Content (SLAC). SLAC coalition members range from educational content creators to technology platform partners, service providers, and stakeholder groups, all uniting in support of cross-platform social learning. Collectively, we have created this member-based confederation to establish user-friendly, interoperable best practices and solutions to bring social learning to all content. Read more about SLAC.

As momentum for social annotation expands across more and more schools, we continue to produce episodes of Liquid Margins, showcasing people doing amazing work who sit in conversation with us to share their annotation knowledge, insights, and experiences for the benefit of educators far and wide who tune in or watch the recordings. Liquid Margins is only about a year old, but we’re already up to 22 episodes, on topics ranging from English to math to science and world languages. It seems the uses for social annotation are limitless.

What’s on the horizon?

Last year we entered into a multi-year research project in collaboration with Indiana University Bloomington (IU) to investigate how social annotation improves reading and writing practices for undergraduate students. The causal relationship between social annotation and student success has long been assumed among many educators teaching with social annotation — and likely by students too. The study began in January of this year, and we are starting to see some interesting results that support the, well, hypothesis.

Again, the stunning annotation numbers and exciting projects and partnerships are made possible by a vibrant community of folks who understand the value, importance, and power of social annotation — and who believe in a shared vision of the open and equitable practice of reading together and learning in community. We couldn’t do this without your support or your voice. As always, we are humbled and grateful. Here’s to each and everyone one of you, and to 25 million more — and climbing.

About Hypothesis

Hypothesis is a mission-driven organization dedicated to the development and spread of open, standards-based annotation technologies and practices that enable anyone to annotate anywhere on the web. Our mission is to help people reason more effectively together through a shared, collaborative discussion layer over all knowledge. Hypothesis is based in San Francisco, CA, USA, with a worldwide team.

Hypothesis develops its open-source annotation software in collaboration with many contributors. We thank our funderspartners, and entire community for working with us to advance standards-based, interoperable annotation for all.


Media: Nate Angell, Director of Marketing

If you love libraries, you are in great company. This week, former President Barack Obama spoke to the American Library Association about his recent book “A Promised Land.” He also had a few things to say about libraries and librarians. Spoiler alert: he’s a fan.

Posted by: bluesyemre | July 21, 2021

Vakıf Yükseköğretim Kurumları 2021


7 Temmuz 2021





Yükseköğretim Kurulunca (YÖK) vakıf yükseköğretim kurumlarına ait yıllık akademik, idari ve mali verilerin detaylı bir şekilde kamuoyu ile paylaşıldığı “Vakıf Yükseköğretim Kurumları 2021” raporu yayımlandı. YÖK’ün “şeffaflık ve açıklık” politikası doğrultusunda ilki 2018 yılında yayımlanan raporun dördüncüsü olan 2021 yılı raporu önceki yıllarda olduğu gibi sistemin güçlü ve zayıf yönlerini ortaya koymaktadır.

Yıllık olarak yayımlanan raporların giriş kısımlarında iyileştirme süreçleri ve mevzuat düzenlemeleriyle ilgili genel bilgiler verilmekte olup, içerik kısmımda ise akademik, idari ve mali hususlarda özet bilgi veren tablolar, grafikler ve sıralandırmalara yer verilmiştir.

– Ülkemizde 11 farklı ilde olmak üzere toplam 77 Vakıf Üniversitesi mevcut

Rapora göre ülkemizdeki Vakıf yükseköğretim kurumlarının sayısı 77’ye ulaşarak yükseköğretim sistemimiz içerisinde önemli bir konuma geldi. Çoğunluğu İstanbul (47) ve Ankara’da (13) olmak üzere 11 farklı ilde vakıf yükseköğretim kurumu mevcut. Vakıf yükseköğretim kurumlarının öğrenci sayısının ortancası yaklaşık 6 bin olmakla birlikte 9 vakıf üniversitesinin 20 binin üzerinde öğrencisi bulunmaktadır.

– Öğretim Üyesi Sayısı Arttırılmalı; Öğretim Üyesi Başına Düşen Öğrenci Sayısı Oranı Düşürülmeli!

Hali hazırda mezun vermiş olan vakıf yükseköğretim kurumları dikkate alındığında, 48 üniversitede kadrolu öğretim üyesi sayısı 100’ün üzerindedir, ancak 27 üniversitede kadrolu öğretim üyesi başına öğrenci sayısı 40’ın üzerindedir. Vakıf yükseköğretim kurumlarımızın özellikle lisansüstü programlarda öğretim üyesi başına düşen öğrenci sayısı oranının düşük tutulması beklenmektedir. Nitekim buna yönelik YÖK tarafından düzenlemeler de yapılmıştır.

– Üniversitelerdeki Açık ve kapalı fiziki alanlarda artış görüldü

Üniversitelerimizin fiziki alanlarını geliştirmesine yönelik yapılan düzenlemeler sonucunda iyileştirmeler gözlenmiştir. Öğrenci başına düşen açık alana ilişkin olarak Vakıf Yükseköğretim Kurumlarının 2018 ve 2021 yıllarına ait verileri karşılaştırıldığında; 11 vakıf yükseköğretim kurumunun öğrenci başına açık alanının %50’den5 tanesinin ise %25’den fazla arttığı; öğrenci başına düşen kapalı alanın ise yine aynı yıllar içerisinde 9 vakıf yükseköğretim kurumunda %50’den3’ünde ise %25’den fazla arttığı görülmektedir.

– Öğrenci başına düşen kütüphane alanları ve kitap sayıları arttı

Vakıf yükseköğretim kurumlarının kütüphane alanları ile kütüphanede yer alan basılı kitap sayıları da paylaşıldı. Buna göre öğrenci başına düşen kütüphane alanına ilişkin olarak Vakıf Yükseköğretim Kurumlarının 2018 ve 2021 yıllarına ait verileri karşılaştırıldığında; 28 vakıf yükseköğretim kurumunun öğrenci başına düşen kütüphane alanının %50’den, 5 tanesinin ise %25’den fazla büyüdüğü; öğrenci başına düşen kitap sayısına ilişkin olarak ise yine aynı yıllar arasında 23 vakıf yükseköğretim kurumunun öğrenci başına kitap sayısının %50’den, 11 tanesinin ise %25’den fazla arttığı görülmektedir. Ancak yine de ulaşılan sayılar pek çok üniversitede yeterli bulunmamaktadır ve takip edilmektedir.

– Kütüphane bütçe ve harcamalarında her yıl artış kaydedildi

Vakıf yükseköğretim kurumları 2017-2018 eğitim öğretim döneminde kütüphane için toplamda 60.242.501,52 TL harcama yaparken bu rakam 2018-2019 eğitim öğretim döneminde %42 oranında artarak toplamda 85.499.393,03 TL’ye2019-2020 eğitim öğretim döneminde ise bir önceki yıla göre %18 oranında artış göstererek 100.619.376,07 TL’ye ulaşmıştır.  Kütüphane için yapılan harcamaların ortancasına bakıldığında ise 469.906,8 TL olduğu görülmektedir.

– Asgari oranın %15’e çıkarılması sonrasında burslu öğrenci oranları arttı

YÖK tarafından önerilen kanun değişikliği ile birlikte vakıf yükseköğretim kurumlarının yükümlü oldukları ücretsiz öğrenci okutmalarına ilişkin asgari burs oranı %10’dan %15’e çıkarılmıştır. Bu kurumlarda, burslu okuma imkânına sahip öğrenci sayısının arttırılmasına yönelik alınan kararın olumlu sonuçlar doğurmaya başladığı görülmüştür. Örneğin; bir vakıf üniversitemizde burslu öğrenci oranı %100 olarak gerçekleşmiştir. Bunu sırasıyla %63 ve %33 orana sahip üniversitelerimiz takip etmektedir. 18 vakıf yükseköğretim kurumunun bursluluk oranı ise %20’nin üzerinde yer almaktadır. Diğer bir ifadeyle YÖK’ün varlığı ile on binlerce öğrenci burslu olarak okuma imkânına sahip oldu.

– Araştırma ve Geliştirme harcamalarında büyük artış

Üniversitelerde öğrenci gelirinin belli bir oranında Ar-Ge harcaması zorunluluğuna ait düzenlemeler sonrası bu konuda farkındalık artmıştır. İç kaynaklı araştırma proje bütçesinin ortancası 2017-2018 döneminde 58.811,30 TL iken, yapılan düzenlemelerle 2018-2019 döneminde yaklaşık 8 kat artışla 488.243,0 TL’ye ulaşmıştır. Bütçeden ziyade harcamaların göz önünde bulundurulduğu 2019-2020 döneminde “gerçekleşen” toplam araştırma proje harcaması ortancasının 2.866.556,4 TL olduğu, iç kaynaklı araştırma proje harcamasının ortancasının ise 1.250.666,8 TL’ye yükseldiği görülmüştür. Vakıf yükseköğretim kurumlarının 2019-2020 yılı toplam Ar-Ge harcaması 740.389.248,7 TL, toplam iç kaynaklı Ar-Ge harcaması ise 309.829.783,9 TL olarak tespit edilmiştir.  Kırk beş vakıf yükseköğretim kurumunun (%58) toplam araştırma bütçeleri 1 milyon TL’nin üzerindedir.

– Reklam ve Tanıtıma ayrılan bütçede yarıya yakın azalma

YÖK tarafından üniversitelerde öğrenci gelirinin belli bir oranından fazla reklam ve tanıtım gideri yapılamamasına yönelik düzenlemeler yapılmıştır. Vakıf yükseköğretim kurumları 2018-2019 eğitim öğretim yılında reklam ve tanıtım için toplam 216.796.443,6 TL2019-2020 yılında ise 124.590.536,2 TL harcama yapmıştır. 2019-2020 yılında reklam ve tanıtım harcamasının ortancası 949.491,6 TL olup bu rakamın kütüphaneye yapılan harcamaların ortancası ile kıyaslandığında 2 katı olduğu görülmektedir. Bir önceki yıl bu oran 4 katı olarak gerçekleşmiş olup alınan kararlarla getirilen sınırlamalar sonucu bu oranın azaldığı anlaşılmaktadır.

– Saraç: “Yeni YÖK’ün şeffaflık ve açıklık politikası kaliteye olan etkisini göstermektedir”

Rapora ilişkin değerlendirmede bulunan YÖK Başkanı Prof. Dr. M. A. Yekta Saraç “İlk kez 2018 yılında yayımladığımız rapor ile 2021 yılı raporumuz kıyaslandığında bazı üniversitelerdeki bilhassa kütüphane alanları ve kapalı mekânların artışı dikkati çekmektedir. Öğrencilerimiz için çok olumlu olan bu gelişmelere benzer bir şekilde vakıf yükseköğretim kurumlarındaki reklam ve tanıtım giderlerinin düşmeye, Ar-Ge harcamalarının yükselmeye başlaması Yeni YÖK’ün “şeffaflık ve açıklık” politikasının kaliteye etkisini göstermektedir.” Dedi.​​

“Üniversitelerimizden beklentimiz, kendi marka değerleriyle standartları sağlayarak asgari kriterlerin çok üzerinde olanaklar sunmalarıdır” şeklinde konuşan Saraç, Yeni YÖK olarak farklı alanlarda ulusal ve uluslararası standartlar gözeterek yaptıkları mevzuat düzenlemelerine bu bakışla devam edeceklerinin altını çizdi. Son olarak, bu kurumların en büyük reklamı ve tanıtımının nitelikli eğitim vererek yetiştirdiği öğrenciler olduğuna inandığını belirten Saraç, öğrencilerin faydasına olan iyileştirmeler yapan bütün Vakıf yükseköğretim kurumlarının yöneticilerine teşekkür etti.

Posted by: bluesyemre | July 21, 2021

TÜMA 2021 (Türkiye Üniversite Memnuniyet Araştırması)

Türkiye Üniversite Memnuniyet Araştırması [TÜMA] ilk olarak 2016 yılında Üniversite Araştırmaları Laboratuvarı’nın [ÜniAr] kurucuları Prof. Dr. Engin KARADAĞ ve Prof. Dr. Cemil YÜCEL tarafından gerçekleştirilmiştir. TÜMA’nın temel amacı, Türkiye’deki üniversitelerin öğrencilerin üniversitelerimizden tatmin olma düzeylerini belirlemek ve bu kapsamda üniversiteleri öğrencilerin tatminkârlık düzeylerine göre sıralamaktır.

   TÜMA öğrencilerin üniversite deneyimleri hakkında geniş bir bakış açısı sağlamaktadır. Veriler öğrencilerin ihtiyaçlarının karşılanmasında üniversitelerin ne kadar tatmin edici olduğu hakkında bir fikir sunmaktadır. Öğrencilerin deneyimleri öğrenci memnuniyetinin önemli bir göstergesi olmakla birlikte, memnuniyet eğitim deneyiminin tatminkâr olup olmadığının sadece bir bölümünün resmini bize sunmaktadır. Araştırmamızın üniversitelerin, aday öğrencilerin, velilerin ve politika yapıcıların veri ihtiyacını gidermeye katkıda bulunacağını ümit ediyoruz.

   Tamamen bağımsız doğası nedeniyle ÜniAr, olarak araştırmalarında herhangi bir kurum ya da kişiden direk bir finansal destek almamaktayız. Kısaca araştırmaların masrafları bireysel olarak bizlerin karşılayabilmesini zorlamaktadır. Bu da daha çok ve düzenli araştırmalar yürütmemizi engellemektedir.

Posted by: bluesyemre | July 21, 2021

#Universities can be ‘living labs’ for sustainability

Hong Kong, with the help of its universities, is hoping to achieve carbon neutrality by 2050.
Image: Florian Wehde/Unsplash
  • Cross-disciplinary research in universities functioning as ‘living labs’ can produce more effective sustainability solutions.
  • The Hong Kong University of Science and Technology has launched around 30 sustainability-related projects.
  • It also aims to be a multistakeholder hub with local, national and global impact.

The massive social and economic disruptions caused by the recent pandemic should serve as a wake-up call to anyone who finds a false sense of security in stability and predictability. The pandemic highlighted that in the 21st century, change happens at unprecedented speed, is often unpredictable, and can be fundamentally transformative. This new normal is placing increasing pressure on higher education institutions to accelerate discovery and innovation in the interests of society, especially in the global mission of building a sustainable future.

Like many of our fellow universities around the world, The Hong Kong University of Science and Technology (HKUST) embraces sustainability as an integral part of our strategic development plan. This starts with the recognition that the principles embedded in sustainability thinking – creating the conditions for people to thrive, focusing on long-term value instead of short-term gains, and living within our planetary boundaries while appreciating the varied stages of development of different regions – are the fundamental touchstones that allow us to measure progress in terms of positive global impact. These principles influence hard sciences, engineering, business and policy development, as seen in our leadership of an international team identifying how China can adjust its overall energy mix strategy in order to reach a carbon peak around 2030, a target for the Paris Agreement.

Most universities now recognize that training students to be prepared for 21st-century challenges means transitioning away from traditional content-based instruction, and embracing active experiential learning where students gain skills to help them solve the kinds of challenges they will encounter during their careers. A sustainability roadmap is essential: Skills like life-cycle analyses, systems thinking and scenario-planning are cross-disciplinary competencies rooted in sustainability thinking.

In 2019, the International Sustainable Campus Network (ISCN) launched a Campus as a Living Lab collaborative to share ideas and case studies as a way to facilitate hands-on sustainability training and skill-building. In the same vein, HKUST launched the Sustainable Smart Campus as a Living Lab initiative in 2018. The concept is simple: We need smart technologies to address sustainability problems, and we need to develop and encourage the right mindset to set the guardrails to create them.

This approach has resulted in the launch of 30 or so university-funded projects, including the installation of indoor air-quality sensors to improve well-being, AI-driven tracking systems for inventorying tree and bird species, self-cleaning multipurpose nano-coatings to improve photovoltaic panel efficiencies, autonomous greywater treatment processes that streamline water recycling, and a digital twin of all campus buildings for a digitized platform for streamlined operations. The goals of such projects are two-fold: to move innovation out of research labs to the campus as a testing ground, and to assess the scalability of these ideas from campus to our city and beyond. For students, the projects provide a clear demonstration how to combine innovation with a sustainability mindset.

COVID spotlighted our great challenges in view of disparate states of different regions regarding wealth, development, access and technology. We take this to mean that our educational efforts cannot support only HK and the Greater Bay Area, but also other less developed regions in the world. This is an important mission of the university; to transform research into real solutions, and to educate future solution-providers. Universities can act as strong convening forces that connect business, industry, government and entrepreneurs to address challenges collaboratively.

We do this by working with local authorities on formulating science-based policies for reducing roadside and ship emissions to improve Hong Kong’s air quality, providing evidence for developing strategies, and being a trusted resource for policy-makers developing our citywide target to achieve carbon neutrality by 2050. Our contributions to government regulations on pollution controls for ocean-going vessels led to wider influence on similar regional regulations for China’s coastal ports, benefitting 20 million people. These collaborations have the potential to improve lives irrespective of wealth and economic status, and showcase what is possible when using sustainability principles as a lodestar.

As institutions where reflection on society takes place, it is the responsibility of universities to empower our students with a deeper awareness of how they can help shape this rapidly changing landscape. Instead of being passive observers, universities can stimulate students to become “activist consumers”, recognizing the power of their consumption patterns to drive markets towards more positive social and environmental outcomes. In collaboration with the seven other publicly funded universities in Hong Kong, we are facilitating an ambitious new initiative called the Sustainable Consumer Program, aiming to engage over 100,000 students to adopt responsible consumption patterns in food, energy, water and other consumables. Similarly, joint programmes developed in partnership with the Association of Pacific Rim Universities (APRU) and Asian Universities Alliance (AUA) aim to nurture responsible global citizens with an aspiration to safeguard and advance the welfare of all. From food upcycling to urban beekeeping, we encourage our members as change-makers and enablers.

This recent pandemic has made it clear how global health hazards impact everyone and can literally bring our global community to a standstill. No country, no society and no one is exempted from these impacts. Similarly, the grand challenges of climate change also force us to focus on the availability of and access to resources, wealth distributions, and equity between regions and societies. Universities are at their best when they engage stakeholders across the spectrum for collaboration and partnership, empower and enable future leaders, and foster novel ideas, innovations and practices. Sustainability is more than a priority for universities; it is a responsibility, a commitment and a key to the betterment of mankind.

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