Kibele; en eski Anadolu tanrıçalarından biri olarak bilinmekle birlikte kökeni milattan önce 6500-6000 yıllarına kadar uzanıyor ve hikayesi antik insanların şahit olduğu bir asteroid düşmesiyle değişiyor. Kibele Hristiyanlıkta Meryem Ana, Yunanlarda Artemis, Sümerlerde İnanna , Babil’de İştar, Roma’da Diana, Nebatilerde Allat ve İslam’da Hacerü’l-esved mi oldu ? Bu dinlerin ortak sembolü ise tanrıçanın bir kara taş ile özdeşleşmesidir. Dinler tarihine yön veren bu antik inancın şekil alışını birlikte inceliyoruz.

Posted by: bluesyemre | June 17, 2022

Libraries are our future, but they need our help!

a digital image I made for this article, Library of the Future, 2022

I made my first website in 2000, as a student at George Mason University. I bought the domain and I have had that domain as my art space, I called it Virtual Studio Space. Over the years I have had a lot of different jobs, opportunities, and life changes. But the ability to make my art in my digital studio space (online and from anywhere) is something I’ve treasured.

Every few years, I go to the Wayback Machine, a way to stroll through the Internet Archive, a vast digital archive that holds everything that was and is online, like a library of everything that happened in the digital communication temple of knowledge we call the web/net/phone. The Wayback Machine has a URL search bar and you can view that website at various collection points and literally travel back in time to see some of your favorite websites as they once were. Now maybe a broken flash link or a full-page gif (remember when we had those enter here gifs?) and other questionable conventions of surfing the old-timey web (cringe).

The ways I have used the Archive personally have been so fundamental to how I understand the internet, its history, and the concept of the digital commons. This archive and its 25-year mission contain our values to democratize information for the benefit of the planet.

Of course, the Internet Archive doesn’t just exist so I can be nostalgic and embarrassed, its mission is to provide universal access to all knowledge, something those of us who were around this digital zip code in its beginning deeply cared about, some of us still do. Democratizing access to books, and written materials is central to its mission. From a statement from The Internet Archive:

“has been working with other libraries for almost a decade to digitize and lend books via Controlled Digital Lending (CDL)…

This service has been especially crucial during the pandemic, but will be needed long afterwards. Many families cannot afford to buy all the books they and their kids want or need to access, and look to libraries to fill the gap. Researchers may locate books they need, but discover they are out of print. Others simply want access to knowledge. And all of these people may not be able to visit the physical library that houses the works they need. CDL helps to solve that problem, creating a lifeline to trusted information. It also fosters research and learning by keeping books in circulation when their publishers are unable or unwilling to do so.”

But in a few months, the Archive will face a court case– Hachette v Internet Archive– whose plaintiffs seek to prevent the institution from helping our national libraries bring information forward into the future. Four large publishers have sued the Internet Archive, alleging that its digital lending program violates their copyrights and threatens their businesses.

I am not sure why the plaintiffs, in this case, feel they are entitled to make every instance of knowledge-sharing into a revenue stream, but there you have it. Perhaps there is some legal precedent for this. I invite you to look it up, for free, online.

For those of you who would like to make a real contribution to the Internet Archive’s ability to continue preserving and sharing the digital commons, you can now donate to the Internet Archive and their DWEB Camp Fellowship program. Thanks to Gitcoin’s Quadratic funding model your $3 could end up as a $400 donation. This program launched on June 8th, 2022, today the day I’m writing this.

The Internet Archive needs our help. If you would like to donate please keep reading as I go through how to do this with a GitHub account, if you are not interested in donating but would like to support the archive please use it, share it, write about it, and keep information and access open!

Learn more (and browse a lot of fun archives) at

Batılıların doğulu diye küçümsediği, doğuluların batılı diye yüz çevirdiği medeniyet elçileri… Geçmişte bini aşkın aile olarak söz edilen İzmir’in 400 yıllık Hristiyan topluluğundan bugün kalanların sayısı, 100 ile 150 aile arasındadır… Masalın Aslı belgesel dizisinde İzmir’in kadim Hristiyanları Levantenlerin tarih, dil, kültür ve edebiyatına baktık…

Hep şunu duyarız: Askeri çalışmaların bilimsel çalışmalara etkisiyle İkinci Dünya Savaşından sonra büyük bir bilgi patlaması yaşandı. Elde ettiğim bulgular, bu bilginin doğruluğunu bozmamakla birlikte sanki biraz eksik bilgi olduğunu düşündürüyor.

A decade working in museums, art galleries, and heritage sites across the United Kingdom, Canada, and Turkey has led Simge Erdogan-O’Connor to Kingston where she is now working as the manager and curator of the Murney Tower Museum.

She, along with assistant curator Jjoanna Dermenjian has created a new exhibit, The Voices of Murney, a unique journey into the history of the Martello Tower. Part of the UNESCO World Heritage Site of the Rideau Canal and Kingston Fortifications, the museum is operated by the Kingston Historical Society and is the oldest operating museum in Kingston with over a thousand domestic and military artifacts.

Martello Towers are squat, round towers with a gun platform. Despite their relatively small size, these little fortifications were adept at preventing attacking ships from landing.

“I am now a PhD candidate in Cultural Studies in the Faculty of Arts and Science but I’ve loved museums all my life,” Erdogan-O’Connor says with a smile. Her PhD research focuses on museums as sites of relevance and social change and explores the links between museums and global citizenship. “Creating this unique exhibit at the Murney Tower was an amazing opportunity and a chance to tell the story of the Tower.”

Built in 1946, the Tower was never needed in combat, but it did not sit empty. The Tower was used for decades as a barracks for soldiers and their families. At one point, she explains, six families lived inside together. Using interesting and unique artifacts housed within the Tower, Erdogan-O’Connor has recreated that life so visitors can really appreciate the cramped living conditions and the challenges that came from living in the Tower.

“The Tower has a very social history as the families that called this home lived, slept, and dreamed in it,” she explains. “There were at times 22 people living on one floor in the town with a communal cooking, sleeping, and living area. A baby was even born here in 1882. The men did take civilian jobs including cobblers, farmers, and blacksmiths so they were able to leave the Tower during the day.”

Along with The Voices of Murney exhibit, Erdogan-O’Connor has mounted the exhibit #hopeandhealing Canada by Métis artist Tracey Mae-Chambers(link is external). Currently on display at the Murney Tower’s gun platform, the project features a series of site-specific art installations across Canada. Each installation is made using crochet, knit, and woven red yarns. This ongoing body of work is used to illustrate connections between Indigenous, Inuit, and Métis peoples with Canadians, while also addressing the decolonization of public spaces.

“I was really inspired by this exhibit and am exploring options for an artist in residency program and also featuring more art installations in the Tower,” she says. “My idea is to make this space accessible to everyone and ensure the Tower is used for much more than a display of military history. This space could become a focal point in Kingston.”

There are currently four Martello Towers in Kingston: Shoal Tower, Fort Frederick, Cathcart Redoubt, and Murney Tower but only Murney Tower is operational and open to the public.

To learn more about Murney Tower Museum, visit the website(link is external). The Tower is open from Wednesday to Sunday between 10 AM and 5 PM. Admission is by donation.

Posted by: bluesyemre | June 16, 2022

Making the most of technology in education

14 Haziran 2022 Salı günü gerçekleştirilen Söyleşinin video kaydıdır.

Posted by: bluesyemre | June 15, 2022

Direk dansı nedir?

Direk dansı (pole dance), fitness, akrobasi ve dansın birleştiği; son yıllarda Türkiye’de de çok popülerleşti. Peki pole dance nedir? Direk dansı nasıl yapılır? Evde yapılır mı? Direk dansının türleri nelerdir? Herkes yapabilir mi yoksa belli bir altyapı gerektiriyor mu?

Birçok kadın, direk dansının bedenleriyle kurdukları ilişkiyi olumlu yönde değiştirdiğini, bir taraftan güç, esneklik kazanırken aynı zamanda bedenleriyle barıştıklarını, öz güvenlerinin arttığını anlatıyor. Çoğunlukla kadınların ilgilendiği bir spor gibi görünse de direk dansıyla ilgilenen erkekler de var.

+90 direk dansını, kadın ve erkek dansçılar ile mercek altına altı.

Posted by: bluesyemre | June 15, 2022

Reuters Institute Digital News Report 2022

This year’s report reveals new insights about digital news consumption based on a YouGov survey of over 93,000 online news consumers in 46 markets covering half of the world’s population.

The report documents ways in which the connection between journalism and the public may be fraying, including a fall in trust following last year’s positive bump, a declining interest in news and a rise in news avoidance. It also looks at audience polarisation and explores how young people access news.

Posted by: bluesyemre | June 15, 2022

Sosyal Bilimler Ansiklopedisi #TÜBİTAK

Posted by: bluesyemre | June 15, 2022

#AnaPopovic Shows

00:00:00 Instrumental 00:02:15 If Tomorrow Was Today 00:07:14 Can You Stand The Heat? 00:11:54 Object Of Obsession 00:15:55 Love You Tonight 00:23:17 Train 00:29:05 Long Road Down 00:34:32 New Coat Of Paint 00:43:20 Night By Night 00:46:54 Is This Everything There Is? 00:51:39 Last Thing I Do 00:57:39 Fencewalk 01:04:14 ? 01:07:33 Boys’ Night Out 01:14:35 Can’t You See What You’re Doing to Me? 01:22:35 Brand New Man 01:30:12 Lasting Kind Of Love 01:36:43 Too Late 01:48:19 How’d You Learn To Shake It Like That? 01:55:22 We Can Change The World

Ana Popovic – Lead Vocals & Guitar
Buthel Burns – Bass & Backing Vocals
Jeremy Thomas – Keyboards
Evan Knight – Saxophone
Jordan Carr -Trumpet
Kwesi J Robinson – Drums & Backing Vocals

Thanks to Albert Poliak & Ira Maltz for The Funky Biscuit
Props to Jeff Kissinger for the original audio magic!
Audrey Michelle & True Definition Media
Kudos to Sharon Wolf for the help filming
Special Thanks to Jesse Finkelstein & Audrey Michelle of Blues Radio International

Derler ki Tanrı yeryüzünü yarattıktan sonra halkları bir bir dağıtmaya başlar yeryüzüne. Ama o kadar çok halk vardır ki sıkılır sonunda ve elinde kalanları öylece Kafkasya’ya serpiştirir. O gün bugündür bir halklar mozaiği, bir renkler cümbüşüdür, Kafkaslar. Her birinin benzer yanları, farklı yanları ve elbette farklı hikayeleri var bu halkların. Bugün Artvin’in Hemşin ilçesinde yaşayan halkın da öyle. Hemşinli deyip geçiyoruz. Oysa ardında derin bir miras var… *** Masalın Aslı belgesel dizisinin bu bölümünde, Hemşinlilerin ardındaki derin mirasın peşine düştük…

Posted by: bluesyemre | June 15, 2022

I. Arkeoloji Şurası 15-17 Haziran 2022 (Video Kaydı)

Posted by: bluesyemre | June 15, 2022

The 2022 Environmental Performance Index

The 2022 EPI provides a quantitative basis for comparing, analyzing, and understanding environmental performance for 180 countries. We score and rank these countries on their environmental performance using the most recent year of data available and calculate how these scores have changed over the previous decade.

Posted by: bluesyemre | June 14, 2022


Hiç şüphesiz gençlik, insan hayatının en güçlü ve en dinamik dönemini oluşturmaktadır. Bu dönemin ayırt edici özelliği, gençte birtakım fizyolojik ve psikolojik değişikliklerin yanında umudun, heyecanın, dinamizmin ve geleceğe dair hayallerin çok yoğun bir biçimde yaşanmasıdır. Literatürde genellikle çocukluk ile yetişkinlik arasında bir geçiş evresi olarak da görülen gençlik aynı zamanda insan hayatının en bunalımlı ve değişken dönemi olarak da kabul edilmektedir. Zira bu dönemde, bireydeki bedensel ve ruhsal değişim, duygusal ve bilişsel gelişim en üst düzeye çıkmakta; karakter, kimlik, kişilik ve benlik oluşumu tamamlanmaktadır. Aslında gençlik, yeni bir gelişim evresini yaşayan gencin maruz kaldığı değişimin ve bu değişimin neden olduğu bunalım ve krizin ortaya çıkmasını ifade etmektedir. Bir değişim ve dönüşüm süreci olan gençlik, bireyin yeni ilişikler, alışkanlıklar, tutum ve davranışlar edinmeye ve anne-baba himayesinden çıkarak akran gruplarının ve sosyal çevrenin etkisinde hareket etmeye başlamasını ifade etmektedir.
Diğer bir deyişle, bireyin sosyal ve psikolojik açıdan olgunlaşması, bağımsızlık ve özgürlük yanlısı bir tutum takınması ve toplumda kimlik ve şahsiyet edinme çabasına girmesidir. Zira bu dönem, yetişkinliğe giden yolda çok önemli bir bariyer oluşturmakta, gencin çoğu zaman altından kalkamadığı çok boyutlu ve karmaşık sorunlara neden olmaktadır. Fırtınalı ve stresli bir süreci ifade eden gençlik, aynı zamanda bireyde, duygu-durum, değer-ahlak ve tutum-davranış noktasında dramatik bir değişime de yol açmaktadır. Hiç şüphesiz bu dramatik değişimin kendisini en çok hissettirdiği alanların başında ise din, dinî inanç ve dinî tutumlar gelmektedir. Özellikle 2000 ve sonrasında doğan ve literatürde Z Kuşağı olarak geçen gençlerin her geçen gün daha fazla modernleşen ve sekülerleşen Türkiye’de dinî hayata dair inanç ve tutumlarında nasıl bir değişim ve dönüşüm yaşandığı ve bu değişim ve dönüşümde rol oynayan sosyal, ekonomik, kültürel ve politik faktörlerin neler olduğu sorusu, bu çalışmanın en önemli konusunu, sorununu ve kapsamını oluşturmuştur.

Posted by: bluesyemre | June 14, 2022

Kitap Okumak #ZülfüLivaneli

Dear Colleagues, and Members of IFLA,

I am Ertuğrul Çimen, a librarian from Turkey who graduated from Hacettepe University (Ankara, Turkey) and majored in Library Science. I wish to run for the election, which will choose the next IFLA President who plays an important role in such a critical time.

My professional interests are academic library management, library consortia, library collaboration, resource sharing and document delivery, life-long learning, and staff exchange programs for librarians. I am the editor of professional academic journals such as Information Discovery and Delivery.

In addition, I have an active role in various NGOs and professional organizations at the national and international levels. I chaired the Anatolian University Libraries Consortium (ANKOS) for two terms, which leads the electronic resource procurement, professional communication, and development activities of over 200 Turkish academic libraries and uses a huge amount of annual budget. I served as the founding coordinator of ANKOS Academy and ANKOS Personnel Exchange programs. In addition, I served as a member of the Board of Directors of the Turkish Librarians Association (TLA).

While continuing my career as a librarian, I have also completed the Finance and Banking Master’s program at Social Sciences Institute, Kadir Has University (Istanbul, Turkey). It turned out that the program provided me an opportunity to improve myself in areas that are very critical for an academic library administrator, such as budgeting, personnel management, and performance evaluation. I believe these skills and experiences will be beneficial to IFLA in terms of its financial and organizational management.

In IFLA, I took part in the Document Delivery and Resource Sharing Standing Committee for two terms starting in 2013. During my terms on DDRSSC, I served both as Information Coordinator and Secretary. The Committee won the IFLA Dynamic Unit and Impact Award in 2020 with the Resource Sharing During COVID-19 (RSCVD) project that we developed and promoted to help libraries during the pandemic. Since August 2021, I have been volunteering as an IFLA Europe Regional Division Member and IFLA Freedom of Access to Information and Freedom of Expression (FAIFE) Advisory Board member.

Dear IFLA Members,

The new IFLA structure offers all information professionals and librarians new opportunities for the long road to the Presidency.

Thanks to the opportunity offered by this change, I decided to run for the Presidency of IFLA, of which I have been a part for nearly ten years. I understand deeply the importance and responsibility of IFLA in representing and advocating globally for librarians, libraries, and IFLA values.

My motivation to be a nominee is my commitment to IFLA. This commitment is rooted in “its international advocacy role based on its traditions and values, innovative and creative practices, and the IFLA spirit created by its global diversity-based volunteers.”

With this motivation, when I am elected for the position in this critical period, I commit to;

Improve the effectiveness and efficiency of IFLA Activities by;
• creating a collaborative environment where not only resources will be shared but also the experiences, perceptions, and visions for the future.
• acting globally and serving as a local advocate while working for the development of global policies,
• accelerating the change process of the IFLA structure initiated in the past years,

Achieve social inclusiveness by;
• developing means for social integration-based access to information and library services for mobile, displaced communities,
• supporting the development of special services for disadvantaged individuals,
• being a permanent defender of the rights of societies, communities, and individuals to access information and freedom of expression. I will participate in global and local awareness activities and advocate for the free exercise of these rights,

Contribute to the profession by;
• advocating for respect to global and local laws in the production of information services and services and for taking measures to protect copyrights,
• working on the restructuring of librarianship education and the establishment of an international accreditation system,

While carrying out all the activities listed above, my personal attitude in this leadership role will be to;
• listen more, speak less and do more,
• adhere to human-oriented, environmentally friendly/sensitive sustainable policies,
• approach all issues with a fair and equitable perspective, and change will be my unchanging principle.
• always be careful being on the right side, open to dialogue, and applying constructive policies in solving problems,

In the post-COVID era, we are witnessing increased instances of violent political conflicts and intense debates on many issues with global impacts, such as migrations, climate change, and disinformation. This trend will continue, and there will be issues we have not predicted yet. Hence, IFLA’s future vision needs to be flexible but constantly reviewed and redesigned considering current societal issues, such as information pollution and manipulation, access barriers, and personal data security.

It will not be an easy task, but we will be successful if we work together and share our experiences and knowledge.

Being a librarian from Turkey, I often visited the Library of Celsus, an ancient library building constructed by Romans in the 2nd century, located in Ephesus, Anatolia. Standing on the ground of an ancient library building, I realized that our profession, Librarianship, is one of the oldest professions. For thousands of years, we have existed, our society and technology constantly changed, so do the materials we handle, from scrolls to books and data. However, our core value of preserving the information and making it available for our users have not changed. We continue the same mission, and it should not change in the future.
As a world citizen librarian who grew up in Anatolia, the center of tolerance, multiculturalism, and love, connecting the Black Sea to the Mediterranean and Asia to Europe, I have travelled to more than 30 countries worldwide for professional and personal reasons, learning about the libraries and library culture. I understand that IFLA Presidency is a very challenging position. However, I firmly believe my background and professional experiences uniquely prepared me to serve the role. So, I wish your support and vote in this election.

Posted by: bluesyemre | June 13, 2022

Global debt reached a record $303 trillion in 2021

COVID-19 and the war in Ukraine have pushed global debt to new highs.
Image: REUTERS/Sarah Silbiger
  • Global debt passed $300 trillion in 2021, the Institute of International Finance says.
  • This covers borrowing by governments, businesses and households, and the International Monetary Fund warns that it is at dangerously high levels.
  • COVID-19 led to unprecedented borrowing and now the war in Ukraine is pushing global debt even higher.
  • Low-income countries and households suffer the most from high debt levels, experts warn.

Borrowing was already surging before the pandemic – but COVID-19 and now the war in Ukraine have pushed global debt to new highs.

Countries need to work together to tackle this debt mountain in order to safeguard global stability and prosperity, the International Monetary Fund (IMF) warns.

“In the end, the impact will be most sharply felt by those households that can least afford it,” it adds.

So what is global debt and why does it matter?

Global debt is at dangerously high levels across governments, businesses and households, the IMF warns.

What is global debt?

Global debt is borrowing by governments, businesses and people, and it’s at dangerously high levels.

In 2021, global debt reached a record $303 trillion, according to the Institute of International Finance, a global financial industry association.

This is a further jump from record global debt in 2020 of $226 trillion, as reported by the IMF in its Global Debt Database. This was the biggest one-year debt surge since the Second World War, according to the IMF.

COVID-19 caused high spending on measures to protect jobs, lives and livelihoods. “Now the war in Ukraine is adding risks to unprecedented levels of public borrowing,” the IMF warns in a blog.

The current debt wave is the world’s fourth since 1970, the World Bank says.

Why does global debt matter?

Emerging and developing economies have been the worst hit by previous debt crises, World Bank research shows.

To meet debt payments, at least 100 countries will have to reduce spending on health, education and social protection, the IMF estimates.

If countries default on their debts, it can cause panic on financial markets and economic slowdowns.

For businesses, meeting repayments on high levels of debt can mean less money is available to invest in jobs and expansion. Insolvency is also a risk for businesses that are unable to pay back their loans.

For households, high levels of debt can force them to cut some areas of spending, such as food or fuel. Low-income households are most at risk, the IMF says.

What do experts say about global debt?

When low-income countries get into debt distress, it’s associated with “protracted recessions, high inflation and fewer resources going to essential sectors like health, education and social safety nets, with a disproportionate impact on the poor”, the World Bank says.

Debt distress is when a country is unable to fulfil its financial obligations, such as repayments due on its debt. The IMF and World Bank believe 60% of low-income countries are at or near this point.

At a time when the war in Ukraine is disrupting food supplies and pushing food prices higher, countries that “strain to pay their creditors will also struggle to help their poorest citizens”, Al Jazeera reports.

As food and fuel prices soar, governments may need to give more grants to households in need to help them cover costs, particularly in low-income countries, the IMF says.

In 2021, the countries with the highest global debt levels compared to GDP were Japan (257%), Sudan (210%), Greece (207%), Eritrea (175%) and Cape Verde (161%), according to data published by Visual Capitalist.

Rising prices mean inflation is spiking, so central banks are increasing interest rates to try and contain this. Rising interest rates in turn mean higher loan repayments.

The most highly indebted governments, households and firms will be hardest hit by significant interest rate rises, so countries have to be careful to strike the “right balance”, the IMF warns.

Posted by: bluesyemre | June 13, 2022

Gen Alpha: The Real Picture Report 2022

The ‘Estonia 2035’ action plan compiles the changes in various areas that are needed to maintain the basic principles, achieve strategic goals and meet the development needs described in the long-term development strategy ‘Estonia 2035’. Targeted and coordinated cross-sectoral cooperation is important. The action plan has been prepared in the course of preparing the ‘Estonia 2035’ strategy. The ‘Estonia 2035’ action plan is also the Estonian reform plan submitted within the framework of the European Semester for the coordination of economic policies.

Exercise Desk for Students
Ralph Brown Draughon Library, Auburn University, Auburn, Alabama, USA

The “Best Practices from World Libraries” photo gallery presents a selection of photographs from around the world, which feature library projects and programs that best demonstrate this year’s IRRT Presidents theme: Global libraries as agents of leadership in our post pandemic world.

This collection of photographs has been curated by the International Relations Round Table (IRRT) International Connections Committee. The project idea comes from 2018 IRRT Emerging Leaders’ Project: Towards Increasing Engagement of International New Professional Leaders in ALA Activities, which identified “sharing innovative services and best practices” and “promoting the concept of a global community of libraries” as the highest priorities.

We believe the photographs selected best illustrate libraries’ innovative services and impact in building strong communities around the world. These images demonstrate ALA’s core values of librarianship in promoting democracy, diversity, social responsibility, lifelong learning and professionalism, and embrace what Dr. Michael Stephens called “the heart of librarianship” in pursuing “attentive, positive and purposeful change”.

Outdoor Storytime
Centennial Library, Morristown, Vermont, USA
Classes using VisionPort data visualization equipment
Library, Auburn University, Auburn, Alabama, USA
Bringing the Library to you!
Northland Public Library, McCandless Township, Pennsylvania, USA
MIA Library Supporting Afghan Refugees Post Covid
Museum of Islamic Art, Doha, Qatar
Exercise Desk for Students
Ralph Brown Draughon Library, Auburn University, Auburn, Alabama, USA
We Believe in the Community Libraries’ Power of Change
Riecken Community Libraries, Honduras and Guatemala
Cipher game in Tabor library
Public library of Tabor, Tabor, Czech Republic
Anatolian Tales for children
Library, Karacaoğlan Provincial Public Library in Kahramanmaraş, Turkey
Bee Haven Project
Cooranbong Public School Library, Lake Macquarie, New South Wales, Australia
The Night with Leonardo
Ljubljana City Library, Ljubljana, Slovenia
Library, Kerava Youth Services, Mannerheim League for Child Welfare (MLL), Kerava, Finland
Libraries are the backbone of autonomy and lifelong learning
National Central Library, Ministry of Education in Taiwan, Taipei City, Taiwan
Come! Let’s read together with peace of mind
National Central Library, Ministry of Education in Taiwan, Taipei City, Taiwan
AAPI Heritage Month Kick-off with the Linda Lindas
Los Angeles Public Library, Los Angeles, California, USA
Coral is Busy—Marine Education Touring Exhibition
Library of Cultural Affairs Department, Taitung County Government in Taiwan, Taichung City, Taiwan
NCLibTV Services Delivered to Your Home
National Central Library, Ministry of Education in Taiwan, Taipei City, Taiwan
International Storytime
Cranbrook Public Library, Cranbrook, British Columbia, Canada
Parkour Mobile Library has arrived!
Taichung Public Library, Taichung City Government in Taiwan, Taichung City, Taiwan
Boxes of selected books are ready to be dispatched!
Hsinchu County Public Library, Hsinchu County Government in Taiwan, Hsinchu County, Taiwan
Children’s reading bags
New Taipei City Library, New Taipei City Government in Taiwan, New Taipei City, Taiwan
Online Story House
Tainan Public Library, Tainan City Government in Taiwan, Tainan City, Taiwan
Our Mobile Library with EBA Mobile Support Tool, is on the Road
Amasya Provincial Public Library, General Directorate of Libraries and Publications in the Republic of Türkiye, Amasya, the Republic of Türkiye
I keep my distance, I read my book
Erzurum İsmail Saib Sencer Provincial Public Library, General Directorate of Libraries and Publications in the Republic of Türkiye, Erzurum,the Republic of Türkiye
Libraries are Full of Life, Library Everywhere
Karabük Zübeyde Hanım Provincial Public Library, Babies Section General Directorate of Libraries and Publications in the Republic of Türkiye, Karabük, the Republic of Türkiye
My Library is Cautious, My Book is Sterile
Lüleburgaz County Public Library, General Directorate of Libraries and Publications in the Republic of Türkiye, Lüleburgaz,Kırklareli, the Republic of Türkiye
Journey From A Book To Drama: General Directorate of Libraries and Publications Book Club and I Read With Drama Project
Department of User’s Services, General Directorate of Libraries and Publications in the Republic of Türkiye, Ankara, the Republic of Türkiye
Facing a world of infinite imagination through reading
The Public Library of Miaoli County, Miaoli County Government in Taiwan, Miaoli County, Taiwan
During COVID-19 “On-Site-Virtual Service” at MEF Library
MEF University Library, İstanbul, Turkey
Supporting Food Banks
Toronto Public Library, Toronto, Ontario, Canada
Global Comics Lecture Series
The Ohio State University Libraries, Ohio, United States
Credit Reading Service
Zhejiang Public Library, Zhejiang Province, China
International Library Conference Profession Librarian – Librarian in direct services
Regional Public Library Karvina, Karvina City, Czech Republic, Europe
The American Library Sharpens Its Claws
North Bohemia Research Library Ústí nad Labem, Ústí nad Labem, Czech Republic, Europe
VIP Reference
Kennesaw State University Library System, Kennesaw State University, Kennesaw, GA, United States
Personal Protective Equipment (PPE) Production during COVID-19
Kent State University Libraries, Kent, Ohio, United States
Stress Free Zone
Kent State University Libraries, Kent, Ohio, United States
Historias Inmersas
Biblioteca Piloto, Medellin, Colombia
Library Virtual Tour
National Library of Indonesia, Jakarta, Indonesia
Book-lending Online Live Room
Taizhou Library, Zhejiang Province, China
Drive-in Book Returning System
Taizhou Library, Zhejiang Province, China
Hehe Book Bar
Taizhou Library, Zhejiang Province, China
The year is enjoying an auspicious, festive and peaceful start
National Central Library, Ministry of Education in Taiwan, Taipei City, Taiwan

In this Patagonia Documentary I take you on one of my most memorable trips through Patagonia from north to south filled with loads of adventures along the way ➸ My Patagonia Guides: All music used in this Video was provided by Epidemic Sound. Use the following link to get a free 30 day trial (free music for your videos with no obligation to sign up after!): ▸… Checkout Kristins Blog too: ➸

On an 8 week lasting trip Kristin and I are exploring the best Patagonia has to offer. This Documentary covers all of our adventures from Bariloche in the north all the way down to Torres del Paine. Besides trekking in the most beautiful places we hitchhiked the Carretera Austral, explored a number of impressive glaciers and met locals who told us more about life in this region.

You can use this Patagonia Documentary to plan your own trip to Patagonia, on my website you’ll find all essential information needed.

Please use these chapters to navigate through the video: 00:00 Intro 01:37 About this Trip & Itinerary 02:43 Bariloche 09:45 The Carretera Austral 11:22 Chaiten & Puyuhuapi 18:20 Cerro Castillo & Puerto Rio Tranquilo 25:46 Exploradores Glacier & Villa O’Higgins 33:21 Border Crossing & El Chalten 41:38 The Huemul Circuit Trek 51:00 The Perito Moreno Glacier 53:00 Torres del Paine Full Circuit Trek 1:05:25 Day Tours in Torres del Paine 1:11:08 Outtakes

Following I list all places & things to do in Patagonia as seen in this video:

  • Bariloche
  • Nahuel Huapi National Park
  • Chocolateria Rapa Nui
  • Cerro Campanario
  • San Martin de los Andes
  • Circuito de los 7 Lagos
  • Villa La Angostura
  • Center of Bariloche
  • Villa Catedral
  • Cerro Catedral
  • Refugio Frey
  • Refugio Otto Meiling
  • Cerro Tronador
  • Pampa Linda
  • Glaciar Castaño Overo
  • Puyuhuapi
  • Queulat National Park / Parque Nacional Queulat
  • Bosque Encanta
  • Coyhaique / Coihaique
  • Cerro Castillo / Villa Cerro Castillo
  • Puerto Rio Tranquilo
  • Marble Caves / Capillas de Marmol
  • Lago General Carrera
  • O’Higgins Glacier / Bernardo O’Higgins National Park
  • Southern Patagonian Ice Field
  • Candelario Mancilla
  • Villa O’Higgins
  • O’Higgins Lake / Lago O’Higgins or Lago San Martin
  • Cerro Torre and Laguna Torre
  • Monte Fitz Roy and Laguna de los tres / laguna sucia
  • Lago del Desierto
  • El Chalten
  • Puerto Montt
  • Hornopiren
  • Pumalin Park
  • Chaiten
  • Villa Santa Lucia
  • La Junta
  • Puyuhuapi
  • Queulat National Park / Parque Nacional Queulat
  • Queulat Glacier / ventisquero queulat (colgante)
  • Perito Moreno Glacier
  • Torres del Paine
  • Huemul Circuit
Posted by: bluesyemre | June 10, 2022

Best-Selling video games consoles of all time

Posted by: bluesyemre | June 10, 2022

Live @ Route du Rock 2019 #AltınGün

The band Altın Gün performing at La Route du Rock festival (inside the fort of Saint-Père). All rights reserved to Altın Gün, Rock Tympans and Arte concert.

Posted by: bluesyemre | June 10, 2022

The World’s Airline Fleets by carrier

Eyvah Kitap!’ın yazarı Mine Soysal, yayıncılık deneyiminden, okurla sürekli iletişiminden, okuma kültürümüzü geliştiren uzun soluklu projelerden çıkarsamalarıyla okuma hak ve özgürlüklerini tehdit eden yaklaşım ve uygulamalara dikkat çekecek. Soysal, özellikle çocuk ve gençlik edebiyatı kitapları için sık rastlanan yasakçı uygulamaların olumsuz sonuçlarını göz önüne sererken, farklı alanlardan değerli uzman konuklarına söz veriyor. Türkiye Yayıncılar Birliği Başkanı, Uluslararası Yayıncılar Birliği Yönetim Kurulu Üyesi, yayıncı Kenan Kocatürk, düşünce, ifade ve yayımlama özgürlüğünün anlamını, sansürün ulaştığı boyutu özetliyor. Klinik psikolog-pedagog İnci Vural, çocuklukta edinilen özgürce okuma ediminin duygusal ve düşünsel katkısını çok yönlü tanımlıyor. ODTÜ GVO Özel Okulları’nda eğitim yöneticisi, şair Cahit Ökmen, öğrencilerin okul yıllarında kitapları ve edebiyatı sevmesinde öğretmenin ve ebeveynin belirleyici rolünü aktarıyor.

Posted by: bluesyemre | June 10, 2022

Five major types of #RenewableEnergy

Posted by: bluesyemre | June 10, 2022

Top 10 most valuable European Brands 2022

Anadolu’nun en batı ucu olan İzmir Yarımadası’nda hem karada hem de denizin altında kazılarını sürdüren arkeologlar ulaştıkları buluntular sayesinde bölgenin tarih öncesi çağlardaki yaşamına ışık tutuyor.

Orhan ÇEKİÇ hocamızın anlatımı ile Mustafa Kemal’in GERÇEK hayat hikayesi.

00:00 Haluk TATAR Giriş konuşması 04:10 Atatürk’ün ailesinin geçmişi 07:40 Mustafa Kemal’in çocukluğu 20:00 Asker olmaya karar vermesi 25:25 Yeni insanlar ile tanışması 33:45 Vatanı kurtarmaya karar vermesi 41:42 İttihat ve Terakki dönemi ve Enver Paşa 49:00 İstanbul’dan ayrılışı 57:00 İstanbul’a geri dönüşü 59:00 Çanakkale’ye geçişi ve savaş 01:20:00 Bolşevik Devrimi 01:26:50 Hastalanması 01:27:10 Enver Paşa ile kırgınlık 01:30:00 Rütbe yükselişi 01:32:00 Rusların Anadolu’ya girişi 01:37:00 Paşa rütbesini alışı 01:49:00 İstifa olayı 01:54:00 Kendi mücadelesini başlatması 01:57:00 Sultan Vahdettin ile tanışma 02:17:00 Osmanlı son yıllar 02:22:22 Hastalık dönemi 02:30:00 Mondros Ateşkes Antlaşması 02:41:00 Rütbesinin alınması 02:48:00 Samsun’a gidiş 03:04:00 Padişah ile yol ayrımı 03:06:00 Görevden alınması 03:13:00 Kongrelerin başlangıcı 03:14:00 Padişaha son uyarı 03:18:00 Milli Mücadele 03:22:00 Mudanya Anlaşması 03:23:40 Meclisin kurulması ve Cumhurbaşkanlığı seçimi 04:07:00 Cumhuriyetin Yükselişi ve reformlar 04:11:00 Nutuk nasıl yazıldı? 04:15:00 İstanbul’a neden kırgındı? 04:20:00 Orman çiftliği ve tarıma verdiği önem 04:22:00 CHP’ye ne miras bıraktı? 04:31:00 Hatay’ın alınışı ve sağlığını yitirmesi 04:33:00 Hastalığı ilerliyor 04:48:00 Dik durmayı bilen tek lider 04:50:00 Bir güneş sönüyor

Çağdaş çocuk ve gençlik edebiyatı nedir, nasıl ortaya çıkmıştır? Kitaplardaki “kötü kelimeler” kötü müdür? Dünyayı kim kurtaracak? Fantastik edebiyattan neden korkuyoruz? Edebiyatta suç unsuru aranır mı? İklim değişikliği için “bugün” ne yapmalı? Mine Soysal ile Kitaplık Sohbetleri’nin ikinci bölümü yayında! Günışığı Kitaplığı Genel Yayın Yönetmeni Mine Soysal, yazar, yayıncı, arkeolog ve okur olarak, Halil Türkden’in sorularını cevaplıyor. Her cuma kitaplıktan taşan konular, Mine Soysal ile Kitaplık Sohbetleri’nde!

0:00 GİRİŞ 00:22 Çocuk ve gençlik edebiyatı nedir, nasıl ortaya çıkmıştır? 05:00 Çocuk edebiyatında “kötü kelimeler”… 10:48 Çevre Koruma Haftası, Sıfır Atık ve Okyanus Günü 13:16 İklim değişikliği: Dünyayı kim kurtaracak? 16:38 Fantastik edebiyattan neden korkuyoruz?

Posted by: bluesyemre | June 10, 2022

Young people need #libraries as safe spaces

2022’nin ilk çeyreğinde ayda dört milyondan fazla ABD’li çalışan işinden ayrıldı. ABD’li çalışanların yüzde 44’ü yeni işler arıyor. Ekibinizden birinin yakın zamanda işten ayrılması ihtimal dahilinde. Bu kişi düşündüğünüz veya umduğunuz kişi olmayabilir. Ekibinizde önemli katkılar sunan biri hiç beklemediğiniz bir şekilde ayrılabilir. Bu çalışan birlikte çalışmayı sevdiğiniz ve kurum için büyük potansiyel taşıyan biri olabilir. Peki bu kişi istifa haberini verdiğinde nasıl tepki vermelisiniz?

Yapmamanız gereken bazı  şeyler vardır. Örneğin, bu haberi kişisel olarak algılamamalı, çalışanın yeni iş fırsatını küçümsememeli veya çalışanı suçlu hissettirmemelisiniz. Bu şaşırtıcı haberi sindirirken yapıcı ve profesyonel bir tavırla karşılık vermek için altı noktaya dikkat etmelisiniz.

Bir süre durun

Öncelikle bu yeni haberi sindirmek için kendinize bir süre tanıyın. Şaşırdığınızı göstermenizde veya “Bunu beklemiyordum” gibi bir şey söylemenizde sakınca yoktur. Kesinlikle yapmamanız gereken, tepkisel davranıp pişman olacağınız bir şey söylemek ve çalışanın size ve kurumunuza dair olumsuz bir izlenimle ayrılmasına sebep olmaktır.

İçinizde oluşan duygusal tepkileri fark edin ve yönetin

Kendinize tanıdığınız süre boyunca derin bir nefes alın ve tam olarak ne hissettiğinizi anlamaya çalışın. Duygusal Çeviklik adlı kitabın yazarı Susan David’e göre, duygularımızı ele almanın ilk yolu onları isimlendirmektir. Olabildiğince tanımlayıcı olun. Şaşırmaya ek olarak hüsrana uğramış, cesareti kırılmış, incinmiş, morali bozulmuş, ihanete uğramış, kızgın, kırgın, sinirli, hayal kırıklığına uğramış veya sadece üzgün hissedebilirsiniz. Olumsuz duyguların birçok çeşidi bulunur. Hissettiğiniz duyguyu ayırmak öz farkındalığınızı artırır ve ayrıca duygularınızı daha etkili bir şekilde işlemenizi ve daha yapıcı bir tepki vermenizi sağlar.

Farkında olmadığınızda bu olumsuz duygular beklenmedik bir şekilde su yüzüne çıkarak ani ve sert bir tepki, alaycı bir iğneleme veya küçümseyici bir yorum gibi sonradan pişman olacağınız yıkıcı ve tepkisel yorumlar veya davranışlara sebep olabilir. İhanete uğramış ve öfkeli hissetseniz bile bunu paylaşmamalısınız. Bu durumda cesur davranmak, bu duyguların gizli kalmasını gerektirir. Ancak, üzgünseniz veya hayal kırıklığına uğramış hissediyorsanız “Ayrıldığın için üzgünüm ama bu elindeki büyük bir fırsat gibi görünüyor. Seni özleyeceğiz” diyebilirsiniz.

İşten ayrılma haberini kişisel almayın

İşten ayrılma haberlerini kişisel aldığımız için incinmiş veya ihanete uğramış hissederiz. Bir yönetici olarak kendinizi geliştirmeye çalışıyor olabilirsiniz. Hepimiz daha iyi olma yollarını bulmaya çalışırız. Ancak çalışanınızın ayrılışı sizin kişisel değeriniz veya ne kadar iyi bir insan olduğunuzla ilgili değildir. Dolayısıyla egonuzu bir yana bırakın ve hissediyor olabileceğiniz güçlü ve zorlayıcı duyguların ötesine geçin. Çalışanınız daha iyi bir iş fırsatı, daha iyi bir maaş, kişisel sebepler veya bunların hepsi sebebiyle işten ayrılıyor olabilir. Çalışanınızın kariyer gelişimi yolu, kurumunuzdan ayrılıp başka bir yerde deneyim edinmesini gerektiriyor olabilir. Bu onların kariyeri. Kendileri ve/veya aileleri için en iyi kararı verdikleri için onlara saygı gösterin. Benzer bir durumda olsanız sizin de kendinizi düşünmeniz beklenirdi. Çalışanınız size ihanet etmiyor, fakat kendisine sadık davranıyor.

Meraklı olun ve gelişmeye odaklanın

Çalışanınızın neden işten ayrıldığı ve bundan sonra ne yapacağına dair samimi bir ilgi ve merak gösterin. Gelecekte size, kurumunuza ve diğer çalışanlara fayda sağlayacak ne gibi bilgiler edinebilirsiniz? İşten ayrılan çalışanınıza şunu sorabilirsiniz: “Seni işte kalmaya ikna etmek için ne yapabiliriz?” Bu noktada çalışanınız başka bir pozisyonunu kabul ettiği için olumsuz cevap verebilir. Ancak, bir danışanım patronuna işten ayrılma haberini verirken rakip bir şirketin kendisine çok daha kıdemli bir mevki ve çok daha yüksek bir maaş önerdiğini söyledi. Danışanımın kurumu bu tür bir terfiyi vermekte ayak diriyordu. Beklenmedik bir şekilde birkaç gün sonra patronu çok daha iyi bir teklifle geldi ve danışanımı işte kalmaya ikna etti.

Bu senaryo istisnai olabilir. Yine de yukarıdaki soruyu sormak önemlidir. Bu soru şöyle de ifade edilebilir: “Seni işte tutmak için ne yapabilirdik?” veya “Bu yeni işle ilgili sana en çok hitap eden veya seni en çok heyecanlandıran nedir?” Çalışanınızın cevabı daha iyi bir iş yaşam dengesi, uzaktan çalışma imkanı, daha kapsayıcı bir kültür, daha fazla sorumlulukla beraber yeni ve heyecan verici bir mücadele veya karar alma yetkisiyle ilgili olabilir. Bunların hepsi sizin ve kurumunuz için faydalı geribildirimlerdir. Böylece, bu çalışan için artık çok geç olsa da diğer çalışanlar ve gelecekteki çalışanlar için bu alanları ele alabilirsiniz.

Destek olun

İşten ayrılan çalışanlarla artık beraber çalışmayacak olsanız dahi olumlu iş ilişkilerini sürdürmek önemlidir. Bu sebeple kararını destekleyin ve iyi bir izlenimle ayrılmasını sağlayın. Sonuçta, ileride bir gün sizin ondan olumlu bir referans almaya ihtiyacınız olabilir.

Dahası, işten ayrılan kişi eski bir çalışan olarak hâlâ şirketin marka elçisidir. Bu kişi gelecekte bir müşteriye, danışana veya başka işlere ve çalışanlara referans olacak biri olabilir. Ne kadar hayal kırıklığına uğramış olsanız da yeni iş fırsatını olumlu karşılayarak destekleyin. Böylece çalışanın ileride kuruma dönme olasılığı artar. Katkısı ve bir sonraki işi için çalışanınızı kutlayın. Yeni rolüne başlarken ona nasıl yardımcı olabileceğinizi sorun.

Neye ihtiyacınız olduğunu belirtin

Bir çalışan işi bırakma haberini verdiğinde büyük olasılıkla kafasında bir bitiş tarihi vardır. Sonuçta yeni işe girişmeden önce bir ara vermek isteyeceklerdir. Sorunsuz bir geçiş yaşanması için çalışanın ve sizin neye ihtiyacınız olduğu konusunda birbirinizi bilgilendirin. Örneğin, bir projenin bitirilmesiyle ilgili bazı işler, ayrılan kişinin yerini alacak çalışanların eğitimi ve hatta yeni birinin işe alınması söz konusu olabilir.


Bir çalışanın işten ayrıldığını haber vermesi dünyanın sonu veya bir ilişkinin bitişi demek değildir. Ne kadar şaşırsanız da yukarıdaki altı stratejiyi uygulayarak yapıcı bir tepki verebilirsiniz. Böylece tüm taraflar ilişkiyi geliştirebilir ve olumlu bir yolda ilerleyebilir.

The event focused on a possible future beyond transformative agreements! We highly appreciate your active and interactive participation and we hope that you found the event valuable. The video recordings and presentations are available on the event webpage.

Posted by: bluesyemre | June 9, 2022

Yaşasın! Yüz yüze konferanslar başladı #LaleAkarun

Posted by: bluesyemre | June 9, 2022

Two Steps Behind #EdgardoCivallero

In this week’s blog, recurring guest writer Edgardo Civallero writes a conceptual piece, using a creative analogy between music and libraries. This interesting correlation he writes about was established from the many conversations and hours of research Edgardo invests his time into, as he works and travels to different libraries in many countries throughout South America.

“…to take care of this

Sitting on a chair in his house’s courtyard, with his bandoneon resting on a cloth that covers his lap, Argentinean musician Eustaquio Miño looks shyly at the camera. Like his father, don Eustaquio has been, is, and will be a fanatic player of the most traditional chamamé, a musical style very popular in northeastern Argentina, especially in the province of Corrientes. The man makes a chronological review of the great chamamé players for a documentary (Canal Encuentro, 2014). He begins with the classics and ends by mentioning the latest exponents: those that no longer adhere to the traditional forms and styles that Miño’s father knew and that his heir still performs. He closes his speech, full of long, silent intervals, by saying:

“There are a lot of new people who… who are making music like… some would say, “advanced”, you see…

We [he shrugs]… we’re stuck in time a little bit. But to take care of this.”

This brief musical digression –in a column mainly aimed at libraries– is aimed at illustrating, by using a fragment of Argentine popular culture, an idea that should be at the very core of the modern disciplines of knowledge management, and that so far is applied just by a minority: to always stay two steps behind.

Shifting into a new paradigm

At the end of the last century, knowledge and information became the axis of a new socio-cultural and technological paradigm: the Information Society. The market and the large industries did not let this promising business opportunity pass by, the model immediately adopted an eminently economic character, dominated by capitalist schemes. Since then, more and more facets of information management are subject to strong commodification and are governed by the rules of supply and demand, planned obsolescence, excessive consumerism…

Needless to say, libraries are strongly affected by those events. Much has been written –especially from a critical, progressive, social, and radical perspective– about the influence of capitalism and consumerism in the management of human knowledge in general, and in libraries and related institutions in particular: from the articles of John Buschmann and the work of Crawford and Gorman to Postman’s Technopoly and the lectures of Santiago Alba Rico. The deepest analyses reveal the extent to which knowledge management has been forced into a race towards an uncertain future, and pushed into excessive consumption of certain services, products, and resources. In such a competition, libraries’ traditional missions and functions have been neglected, ignored, or plainly forgotten.

The truth is that libraries have always represented, for the different human societies, a safe harbour ─ and even a lighthouse providing orientation in troubled times. To achieve such a respected position as a reference, libraries remained two steps behind the novelty and the noise. That never meant that libraries were not updated, that they did not evolve in accordance with the communities they served, and that they did not grow and change to respond to the needs of their users. But those changes were slow, they occurred for a reason and following a method, they deserved reflection and prior critical analysis…

Good habits that, apparently, libraries have been abandoning.

Book with Wings, by Anselm Kiefer. Modern Art Museum, Fort Worth, Texas (USA).

Two steps behind

Shelters of our stories, repositories of memories and cultural expressions, guardians of knowledge –strategic or not–, libraries cannot afford not to make a foothold in the turbulent waters that characterize our present times or let themselves be carried away by the many siren songs that usually emerge from the fog. Heirs to a long tradition that goes back to the beginning of writing, libraries must maintain a firm and responsible attitude: it is not for nothing that the knowledge, the history, and the identity of entire societies lie on their shelves.

While one librarian’s eye looks towards the future, attentive to the irruption of new currents, the other must keep sight of the path that remains behind ─ a path of which our shelves and our databases are part of. Because that, precisely that, is what makes libraries valuable for their communities: not only their ability to organize information but also their capacity of being a solid reference in contexts as complex, uncertain and volatile as the current ones.

Let libraries explore, experiment, and try. Let them keep track of novelties and innovation. But let them be always two steps behind the front line. “To take care of this“, as don Eustaquio said.

1134 müzik yorumcusu, besteci, söz yazarı, aranjör, müzik yapımcısı, müzik yazarı ve menajer; müzik yasaklarına tepki göstererek “Müzik Susturulamaz, Müzisyenler Susmaz” başlıklı ortak bir açıklaması yaptı.


Biz aşağıda imzası olan müzik yorumcusu, besteci, söz yazarı, aranjör, müzik yapımcısı, müzik yazarı, müzik teknisyeni, menajer ve hayatını müzik sektöründen kazanan tüm meslek gruplarından katılımcılar olarak…

Müzik üzerindeki baskıları, yasaklamaları kabul etmediğimizi yetkililere ve kamuoyuna duyurmak üzere aşağıdaki metni kaleme aldık.

Beş gün gibi kısacık bir sürede ağırlıklı olarak müzisyenlerin katılımıyla 1135 imzaya ulaşan metnimiz, bundan sonra müzik sektörünün bütün bileşenlerinden gelecek imzalara da açık olacak.

Ve gelen her yeni imzayı ekleyerek listemizi güncelleyeceğiz.

Umarız, biz yeni imzalarla müzik dayanışmamızı güçlendirirken, yetkililer de yeni yasaklamalar ve baskılarla karşımıza çıkmaz.


“Mutluluğu ya da mutsuzluğu yasaklayabilir misiniz? Neşelenmeyi ya da hüzünlenmeyi? Acıyı? Sevinci? Yası, hasreti, öfkeyi, umudu, coşkuyu yasalarla, yasaklarla ya da valilik kararlarıyla yok edebilir, ortadan kaldırabilir misiniz? İşte bu yüzden müziği de sanatı da yasaklayamazsınız. Olsa olsa bir konseri, bir sanat yapıtını ya da etkinliğini yasaklarsınız ve böylece sanata, müziğe, şarkılara, türkülere, stranlara engel olduğunuzu zannedersiniz. Yanılırsınız. Tarih bu yanılgılarla dolu. Yanılanlar yok olup gitti; yasakladıklarını zannettikleri türküler bin yıldır dillerde. Müziğe saldırı tümden insanlığın ruhuna saldırıdır.  İki yıldır pandemi tedbirleri gerekçe gösterilerek müzisyenlere yönelik yasaklar ve kısıtlamalar, sektörde faaliyet gösteren birçok müzisyeni derin bir yoksulluğa mahkûm etti. Sanatından başka geçim kaynağı olmayan, enstrümanlarını satmak zorunda kalan, müzikle sanatla hiç ilgisi olmayan işlerle hayatta kalmaya çalışan binlerce müzisyenin sorunları, çığlıkları yazık ki bu yasakları koyanların vicdanına ulaşamadı. Tüm bunlar yetmezmiş gibi şimdi de peş peşe gelen konser yasaklarıyla İktidarın sanat ve sanatçılar üzerindeki baskıları son bir ayda yeni bir boyuta geçti. 

Bu yasaklara gerekçe olarak “kamu güvenliği”, “toplumun ahlâkî değerleri” gibi ucu açık ifadeler kullanılıyor. Bu kararların ardında talimatı, altında imzası olanlara seslenmek istiyoruz: Bu uydurma gerekçelerin neyi perdelemek için kullanıldığını hepimiz biliyoruz. Bir konser yasaklandığında, sadece müzisyenler değil, o müziğin tüm dinleyenler de cezalandırılıyor. Bu kadarla da kalmıyor, menajerleri, organizatörleri, ses ve ışık teknisyenlerini, doğrudan ya da dolaylı olarak sektörden beslenen herkesi, aileleriyle birlikte cezalandırmış, sofralarındaki ekmeği almış oluyorsunuz. Kendi yaşam anlayışınızı bütün topluma dayatmaya çalışıyorsunuz. İstiyorsunuz ki, koca bir toplum sizin istediğiniz gibi, siz istediğiniz sürece ve sizin izin verdiğiniz kadar yaşasın. Bunun için sanata, sanatçıya, emeğe, şarkılara saldırarak insan ruhuna topyekûn pranga vurmak istiyorsunuz.

Büyük yanılgı içindesiniz. Bu ülkenin tek sahibi değilsiniz. Bu ülkenin sahibi hepimiziz ve bu ‘hepimiz’in içinde sizin kadar biz de varız. Bizler, yaratmak istediğiniz gri dünyayı her zaman şarkılarımızla, türkülerimizle danslarımızla gökkuşağının tüm renklerine boyamaya devam edeceğiz. Dilediğimiz kıyafetle sahneye çıkıp; şarkılarımızı istediğimiz dilde, dilediğimiz gibi söyleyeceğiz.

Sanatçıların koruma altında olduğunu söyleyen yasalar günü gelecek gerçekten uygulanacak. Sanat hepimiz için. Müzik hepimiz için. Gözünüze, kalbinize, vicdanınıza indirilmiş perdeyi kaldırın. Şarkıların, dünü bugüne, bugünü yarına bağladığını; bizleri ayrıştırmadığını, aksine birleştirdiğini göreceksiniz.

6 Haziran saat 17.00 itibarıyla imza verenler:

Abdullah Ayav, Abdurrahim Budan, Adalet Öztürk, Adem Çiray, Adır Jan, Adil Görer, Adile Yadırgı, Adnan Girgin, Agit Işık, Agora Minör, Ahmet Eymen, Ahmet Güvenç, Ahmet Özdemir, Ahmet Telli, Ahmet Tirgil, Ahsen Ceylan, Ahu Zeynep Orman, AKAPUM, Akın Eldes, Alança Oskay, Alev Polat, Ali Akcan, Ali Altay, Ali Baran, Ali Basık, Ali Bilir (GRUP MUNZUR), Ali Büyüktürk, Ali Çağan, Ali Ekber Eren, Ali Ekber Kayış, Ali Ellek, Ali Fuat Aydın, Ali Geçimli, Ali Güneş, Ali Haydar Can, Ali Haydar Timisi, Ali İhsan Doğan, Ali Karacaer, Ali Karakuş, Ali Nafile, Ali Papur, Ali Rıza Aksoy, Ali Sinan Çulhaoğlu, Ali Tekbaş, Ali Yeşildağ, Alican Çakır, Alican Toprak, Alpay Sürgüt, Alpay Şalt, Alper Bakıner (LuXuS), Alper Fidaner, Alper Yılmaz, Apostolos Sideris, Ararat, Arıkan Sırakaya, Ari Barokas (Duman), Ari Hergel, Arif Erendemir, Arif Öz, Arif Sağ, Armağan Uludağ, ARMANC, Arzu Bursa, Aslan Kığılı, Aslı Akıncı, Aslı Demirer, ASTARE, Asuman Durşen, Asuman Koç, Aşır Özek, Aşina Yenyıl, Ataol Behramoğlu, Atilla Taş, Avni Sağlam, Ayaz Çavuşoğlu, Aybüke Albere, Aydın Çıracıoğlu, Aydın Güler, Aydın Karabulut, Aydın Vural, Aydın Yağan, Ayfer Düzdaş, Aygül Erce, Ayhan Ak, Ayhan Danyeli, Ayhan Doğan, Ayhan Orhuntaş, Aykut Gürel, Ayla Yılmaz, Aylin Aslım, Aynur Doğan, Aynur Erel, Aynur Soydan Erdemir, Aysun Ercan, Aysun Sökmen, Aysun Timurcan ve Grup Dost Yürek, Ayşe Saran, Ayşe Tütüncü, Ayşenur Kolivar, Aytaç Gökdağ (Müzik Köyü Fethiye), Ayten Ceylan, Azad Aytaş, Azad Yılmaz, Bade Nosa, Baha Boduroğlu, Bahar Çalışkan, Banu Kırbağ, Baran Aytaç, Baran Bozyel, Baran Çelebi, Baran Deniz, Baran Ertaş, Baran Temiz, Barış Atay, Barış Güvenenler, Barış Yerli (GRADO), Barış Yıldırım, Başak İdil Özen, Batu Kurnaz, Batu Mutlugil (DUMAN), Bektaş Eroğlu, Belkıs Akkale, Berfin Aktay, Bergüzar Erdoğan, Berivan Canpolat, Berrin Sulari, Besime Arı, Beyhan Aksoy, BÎDAR, Bilal Karaman, Bilge Günaydın, Bilge Susar, Bilgen Bengü, Binali İlgün, Birdal Aktaş, Birol Ağırbaş, Birol Topaloğlu, Bora Erdoğan, Bora Gencer, Bora Öztoprak, BRADER, Buğra Ömer Ortakçı, Buket Şimşek (GRUP MUNZUR), Burcu Akgün, Burcu Sarak, Burcu Sevsay, Burcu Tatlıses, Burcu Yankın, Burcu Yeşilbaş Taşdemir, Burhan Deniz, Burhan Hasdemir (CÜMBÜŞ CEMAAT),Burhan Şeşen (GÜNDOĞARKEN), Burhan Yıldız, Bülent Genç, Bülent Ortaçgil, Bülent Urgan, Cafer Arat, Cahit Berkay, Cahit Ece, Can Ali Türkmen, Can Göktürk, Can Kaya, Can Kazaz, Can Tan, Can Tanrıseven, Canan Anderson, Canan Özden Duran, Canan Sağar, Canay Doğan, Caner Babaoğlu, Caner Gülsüm, Cansın Angı, Cansu Nihal Akarsu, Cejna Saruhan, Cem Akgün, Cem Doğan, Cem Erdost İleri, Cem Gürel, Cem Köklükaya (CÜMBÜŞ CEMAAT), Cem Türkmenoğlu, Cem Yıldız, Cem Yılmaz (Yapımcı), Cemal Tunka, Cemil Güngören (GRUP MUNZUR), Cemil Koçgiri, Cemil Öndün, Cemil Sağyaşar, Cengâver Gülüm, Cengiz Acat, Cengiz Baltepe, Cengiz Baran, Cengiz Özkan, Cenk Arslanbuğa, Cenk Bonfil, Cenk Erdoğan, Cenk Eren, Cenk Güngör, Cenk Güray, Cenk Kaptan, Cenk Soyak, Cenk Şener, Ceren Aksan Mumcu, Ceren Gündoğdu, Ceren Temel, Cevahir Canpolat, Cevat Ertem, Cevdet Bağca, Ceyda Köybaşıoğlu, Ceyda Pirali, Ceylan Ertem, Cihad Yıldız, Cihan Barış Erdoğan (Grup Munzur), Cihan Bildirici, Cihan Çeken, Cihan Çelik, Cihan Dökmez, Cihan Terlan, Cihan Yaman, Ciwan Haco, Coşkun Demir, Coşkun Koyuncu, Cumhur Ersöz, Çağatay Çoker, Çağdaş Boztepe (KOMİK GÜNLER), Çağdaş Engin (KOMİK GÜNLER), Çağıl Kaya, Çağrı Çetinsel, Çağrı Çeviker, Çiğdem Yıldız, Dadal Zülfikar, Dalape Nena, Dede Murat Öztürk, Delil Dilanar, Demet Sağıroğlu, Deniz Arcak, Deniz Arslanbaş, Deniz Bayrak, Deniz Güngören, Deniz Kâhya, Deniz Koloğlu, Deniz Perhan, Deniz Taşar, Deniz Tekin, Dertli Divanî, Derviş Toprak, Derya Köroğlu (YENİ TÜRKÜ), Derya Petek, Devrim Bozkurt, Devrim Canen, Devrim Çelik, Devrim Demir (Besteci), Devrim Kavalli, Devrim Özlük, Devrim Zal, Dick Darlington, Didem Çetinkaya, Dil Tengî,

Dila Bahar, Dilan Top, Dilara, Sakpınar (Lara Di Lara), Diler Özer, Dilhan Şeşen, Diljen Ronî, Dilşad Göktepe, Diren İnaç, Doğan Canku, Doğan Çakmak, Doğan Çelik, Doğan Yılmaz, Doğu Kılıç, Doğucan Yaşar, Doğuş Budak, Dr. Ahmet Kaya, Duygu Demir, Ebru Çiçek, Ebru Selvikavak, Ebru Söylemez, Ece Şermet, Eda Baba, Edip Akbayram, Ediz Hafızoğlu, Efe Demiral, Ege, Ege Cengiz, Egemen Yontar, Ekim Yoloğlu, Ekin Bilgin, Ekin Vural, Eksik Gitar, Elif Çıraklar, Elif Dikeç, Elis Dubaz, Elvan San, Emin İgüs, Emine Öztepe, Emir Can İğrek, Emrah Doğrul, Emrah Karaca, Emrah Özdamar, Emrah Şenol, Emrah Yavuz, Emre Güney, Emre Kaya, Emre Merey, Emre Sercan İke, Emre Umurbilir, Ender Ersan, Ender Sayıner, Enes Esgin, Engin Aydın, Engin Cengiz, Engin Evin, Engin Gencer, Enver Muhamedi, Ercan Aydın, Ercan Düz, Ercan Gökhan Çağıran, Ercan Kan, Ercan Özaksoy, Ercan Tanrıverdi, Ercüment Gürçay, Erdal Altun, Erdal Bayrakoğlu, Erdal Beyazgül, Erdal Erzincan, Erdal Güney, Erdal Özege, Erdal Yapıcı, Erdal Yılmaz, Erdem Akın, Erdem Özkan, Erdem Sökmen, Erdem Sudabay, Erdoğan Çördük, Erdoğan Emir, Erdoğan Şimşek, Eren Aykanat, Eren Çetin, Eren Noyan, Eren Okur, Ergün Zengin, Ergüven Başaran, Erhan Erdener, Erhan Toprak, Erkan Akalın, Erkan Aksoy, Erkan Güneş, Erkan Gürer, Erkan Kenç, Erkan Oğur, Erkan Yavuzer, Erkin Hadimoğlu (YENİ TÜRKÜ), Erol Berxwedan, Erol Mutlu, Erol Özgür, Ersan Güzel, Ersin Ergün Keleş, Ertan Budak, Ertan Keser, Ertan Sezer, Ertan Tekin, Esma Ertel (BABA ZULA), Esra Kayıkçı, Esra Öztürk, Esra Turan, Evren Taş, Evrim Hikmet Öğüt, Eylem Aktaş, Eylem Erdoğan, Eylem Güler, Eylül Ergül, Eyüp Budak, Eyüp Yıldız, Ezgi Aktan, Ezgi Alaş, Ezgi Dilan Balcı, Ezgi Yelen, EZGİNİN GÜNLÜĞÜ, F. Ö.K., Faik Ateş, Faruk Değirmenci, Faruk Demir, Fatih Ahıskalı, Fatih Gezer, Fatih Özakoğlu, Fatih Veli Ölmez, Fedai Tayyar, Fehmiye Çelik,

Ferhan Şentürk, Ferhat Can Özkan, Feridun Düzağaç, Ferit Şeker, Feryal Öney, Fethi Demirtaş, Fethi Yıldırım, Fırat Alkış (MİRAZ), Fırat Başkale, Fırat Can Kalyon, Fikri Kutlay, Fikriye Kılınç, Filiz Göze, Filiz Öztimur, FLÖRT, Fotini Kokkala, Fuat Alkış, Fuat Daşlı, Fuat Saka, Fuat Talay, Funda Sevilay Ünal, Funda Sezer, Gamze Akkuş İlgezdi, Gamze Ayata, Gamze Mimaroğlu, Geniş Merdiven Orkestrası, Gökçe Coşkun, Gökçe Gürçay (MOZAİK), Gökçen Kaynatan, Gökhan Ataman, Gökhan Birben, Gökhan Ekinci, Gökhan Kızgın, Gökhan Korkmaz, Gökhan Özoğuz (ATHENA), Gökhan Şeşen (GÜNDOĞARKEN), Gökhan Toker, Gökhan Tümkaya, Göksel Elbüken, Göksün Doğan, GÖLGEDEKİLER, Görkem Karabudak, Gözde Öney, Gözel Radyo, Grup ABDAL, Grup İDİGNA, Grup MUNZUR, Grup YELDEĞİRMENİ, GRUP YORUM, Grup ZEMHERİ, Gule Mayera, Gurbet Üzgün Demiral, Gül Gür, Gülay Sezer, Gülbahar Kavcu, Gülbahar Uluer, Gülcan Kızılkurt, Gülcihan Koç, Güler Gültekin, Gülfer Kerenci, Gülin Kılıçay, Gülseren Kılıç, Gülseven Medar, Gültekin Tetik, Gülten Benli, Gülten Kaya, Gündüz Ercandoğdu, Güneş Demir, Güneş Özgeç, Güney Dikme, Gür Akad, Güray Yıldırım, Gürkan Baltacılar, Gürkan Özkan, Gürkan Özmen, Gürsel Dayan, Gürsoy Tanç, Güven Çetin, Güvenç Dağüstün, Güzel Sevinç, Hakan Arınç, Hakan Gürbüz (CÜMBÜŞ CEMAAT), Hakan Kamalı, Hakan Kılıçoğlu, Hakan Kiltepe, Hakan Öz, Hakan Özoğuz (ATHENA), Hakan Şahin, Hakan Şensoy, Haldun Karabudak, Halil Yıldız, Halkların Köprüsü Korosu, Haluk Akay, Haluk Çakır, Haluk Çetin, Haluk Polat, Hami Barutçu, Handan Aksoy, Hande Yener, Harun Elkî, Hasan Yıldırım, Hasan Ali Sezer, Hasan Aran, Hasan Balank, Hasan Sağlam, Hasan Tercan, Haydar Çınar, Haydar Doğan, Haydar Selçuk, Hayrani Kami, Heja Netırk, Helin Erenler, Hemo, Hidir Savluk, Hikmet Akçiçek (VOVA), Hilal Nesin, Hilmi Nar, Hilmi Yarayıcı, Hivda Gökel, Hivron, Hurşit Yenigün, Hüseyin Alpaslan, Hüseyin Aydın, Hüseyin Kurtulmaz, Hüseyin Turan, Hüseyin Yeğin, Hüseyin Yıldız, Hüsnü Arkan, Işık Berfin Özsoy, İberya Özkan, İbrahim Karaca, İbrahim Rojhilat, İdil Meşe, İhsan Güvercin, İkbal Kaynar, İklim Tamkan, İkrami Özturan, İlayda Erol, İldeniz Çetin, İlhan Şeşen, İlkay Akkaya, İlkay Nerat, İlke Kızmaz, İlkin Deniz, İlknur Yakupoğlu, İlyas Arzu, İlyas Şimşek Kulcan, İnan Aran, İnan Söker, İnan Tat, İnanç Alankuş, İnci Engin, İpek Dinç, İrem Bekter, İrfan Alış, İrfan Yalcintepe, İrşad Aydın, İsmail Atalan Bengi, İsmail Gezginci, İsmail İlknur, İsmail Özen, İsmail Ural, İsmail Yurtaşan, İzel Susam, Jehan Barbur, Jehat Hekimoğlu, Jiyan Savcı, Jülide Canca Eke, Kaan Akay, Kaan Bıyıkoğlu, Kaan Oğuz, Kaan Tangöze (DUMAN), Kaan Yanartaş, Kadir Cava, Kadir Çat, Kadir Demir, Kadir Demirel, Kadir Şeker, Kadir Tapucu, Kadri Karagöz, Kadri Songün, Kafaya Islak Çifte, Kağan Yıldız, Kalben, Kardelen Pınar Ömer, Karma Whiff, Kartal Kaan, Kasım Taşdoğan, Kemal Baltepe, Kemal Begtaş, Kemal Kahraman, Kemal Kuzey,

Kemal Küçükbakkal, Kemal Onur Tuzlacı, Kemal Sahir Gürel, Kenan Dalgıç, Kenan Gence, Kenan Yaşar, Kerem Can Aslan, Kerem Demirtaş, Kerem Görsev, Kerem Hasret Yeşilyurt, Kerem Kekeç, Kerem Sevinç, Kerem Türkaydın, Kerem Ulaş Dönmez, Kıvanç Altuğ, Kıymet Şimşek, KOMA SÎYABEND, Koray El, Koray Hatipoğlu, Koray Özer, Korhan Özyıldız, Kurtça Geçer, Kurtuluş Doğru, Kutlu Özmakinacı, Kutsal Evcimen, Lale Koçgün, Levent Akman (BABA ZULA), Levent Bursalı, Levent Canen, Levent Güneş, Leyla Artay, Leyla Diana Gücük, Lobna Allami, Lokman Kurucu, M. Sait Altun, Mahfuz Kızıl, Mahmut Çınar, Mahsum Kömürcu, MAVİ, Maviş Güneşer, Mazlum Çimen, Mazlum Gültekin, Mehmet Akba, Mehmet Akkaya, Mehmet Ali Edis, Mehmet Bekalp, Mehmet Ekici, Mehmet Gümüş, Mehmet Güzel, Mehmet Hayri Bilgen, Mehmet Kara, Mehmet Kazım S¸avklıyıldız, Mehmet Mehmet Karadağ, Mehmet Özen, Mehmet Özer, Mehmet Sağlam, Mehmet Sahip Ak, Mehmet Şen, Mehmet Taygun, Mehmet Teoman, Mehmet Yöntem, Mehpare Malgil, Mehtap Meral, Melek Mosso, Melike Demirağ, Melike Şahin, Melis Güven, Melis Karaduman, Melis Sökmen, Melisa Karakurt, Menduh Kurtboğan, Meral Coşkun, Mercan Erzincan, Merih Aşkın, Mert Ağırlar, Mert Baydeniz, Mert Sever, Mertcan Bilgin, Mertcan Tekin, Mertol Şalt, Merve Çalkan, Mêrxas Viyan (KOMA PEL), Mete Çelik,

Metin Kahraman, Metin Karataş, Metin Şaşmaz, Metin Yılmaz, Mikail Aslan, Mikail Değirmenci, Mikail Yakut, Mine Yıldırım, MOR VE ÖTESİ, Muammer Ketencoğlu, Muhammed Mert Yorulmaz, Muharrem Temiz, Murat Aksak, Murat Arkan, Murat Aşer, Murat Beşer, Murat Çakır, Murat Çopur, Murat Ertel (BABA ZULA), Murat Güngör, Murat Karaçay, Murat Kaya, Murat Keser, Murat Kınay, Murat Küçükarslan, Murat Mengirkaon, Murat Meriç, Murat Serhaşi Toktaş (SİYA SİYABEND), Murat Vural, Murat Yapıştıran, Murat Yenyıl, Musa Baki, Musa Can Birben, Musa Eroğlu, Mustafa Güler, Mustafa Kemal Emirel, Mustafa Kemal Özkul, Mustafa Özarslan, Mustafa Süha Esgin, Mustafa Yiğit, Muzaffer Batuhan Koç, Muzaffer Gezer, Muzaffer Şahin, Mübin Dünen, Müfide İnselel, Müge Çakarlı, Müge Terlan, Mürşide Şimşek, Müslüm Eke, Müslüm Kızıl, Nadir Göktürk, Nadir Kaya, Nağme Yarkın, Naim Dilmener, Nazlı Toprak, Nedim Ruacan, Nejat Yavaşoğulları, Neslihan Solmaz, Neva Pangea, Nevzat Çelik, Nevzat Karakış, Nihad Jemsher, Nihat Balka (Nuhat Koroya Hevdeng), Nihat Behram, Nihat Işıklar, Nikki Wild (DJ), Nil İpek Hülagü, Nilgün Öneş, Nilüfer Sarıtaş, Nilüfer Sezer, Nilüfer Verdi, Niyazi Albay (KEŞMEKEŞ), Niyazi Koyuncu, Noksan, Nuray Erdem Tanrıverdi, Nurdan İpek, Nurettin Güleç, Nurettin İlhan, Nurgül Çomak, Nurgül Ersoy, Nursaç Doğanışık, Nurşay Aykut, Oguz Aksaç, Ogün Sanlısoy, Oğulcan Sönmez, Okan Arduç, Okan Erbaş (GRUP MUNZUR), Okan Karababa, Okan Kaya, Oktay Bilge, Oktay Kahraman, Olcay Bayır, Olcayto Art, Onok Bozkurt, Onur Akın, Onur Aydemir, Onur Can Çelik, Onur Dakak, Onur Olgun, Onur Tatı, Onur Toparlak, Onur Yamaç, Orçun Sünear, Orhan Akın, Orhan Bayram (Nar-ı Güman), Orhan Deniz, Orhan Mecit, Orhun Akar, Osman Enfiyecizade, Ozan Çoban, Ozan Erkan, Ozan Horoz, Ozan Murat, Ozan Poyraz, Ozan Serdar, Ozan Yağan, Ömer Albayrak, Ömer Baki Özümerzifon, Ömer Erciyes, Ömer Özgeç, Ömer Taşkın, Ömer Yardımcı, Ömür Ersoy, Ömür Göksel, Önder Almargun, Önder Bali, Önder Focan, Önder Özdemir, Övünç Aslan, Öykü Aras, Özcan Şenver, Özge Ç. Denizci, Özge Ertal, Özge Eyüboğlu, Özge Fışkın, Özge Pınar, Özge Sarıkurt, Özge Ürer, Özgür Akdemir, Özgür Atasoy, Özgür Kement, Özgür Kıyat, Özgür Kutay, Özgür Özdemir, Özgür Salur, Özgür Uludağ, Özgür Umut Üçer, Özgür Yalçın, Özgür Yılmaz, Özlem Ağrı, Özlem Can Uğursal, Özlem Gerçek, Özlem İlgen, Özlem Oktar, Öznur Turan Şeker, Papatya Ekiz, PEK (İpek Ural), Perit Jan Aydemir, Pervin Doğan, Pınar Aydınlar, Pirsu Kesici, Praksis, Raber Diler, Ramazan Açıkgöz, Ramazan Akdemir, Ramazan Tilbaç, Raşit Pekmezci, Recai Kaptan, Red Abazinians, REDD, Rehim Gülmez, Renan Bilek, Reşat Öden, Rewşan, Rezzan Bilgin, Rıza Koyupınar, Rojin,

Ruhi Su Dostlar Korosu, Ruşen Acet, Rüçhan Çamay, Rümeysa Çamlıbel, Saadet Özdemir, Sabahattin Sel, Sabır Erdinç, Sait Bakşi, Saki Çimen, Sakina Teyna, Salih Dinçel, Salih Dindoruk, Salim Hergün, Salim Zaimoğlu, Salman Sobe, Samet Karadeniz, Sami Büyükçınar, Saniye Yılmaz, Sara Ertaş, Sare Sera, Sarper Semiz, Saruhan Erim (MOZAİK), SATTAS, Savaş Ateşoğlu, Savaş Ateşoğlu (GRADO), Savaş Yakupoğlu, Saygın Yeltan, Sebahat Dilaver, Sebla Pekcan, Seçil Soylu, Seda Erciyes, Sedat Şabettin Tarhan, Selahattin Kürüm, Selçuk Balcı, Selçuk Beltan, Selda Öztürk, Selen Gülün, Selen Kesova, Selim Hergün, Selin Baycan, Selin Sümbültepe, Selman Karabul, Sema Moritz, Semiha Beyaztaş, Senar Ok, Senem Demircioğlu, Senem Diyici, Sera Cengiz, Serap Yağız, Serap Yenici, Serdal Dağ, Serdar Avcıoğlu, Serdar Baba, Serdar Doğan, Serdar Keskin, Serhad Raşa, Serhan Bülbül, Serhan Kelleözü, Serhan Lokman, Serhat Ayebe, Serhat Ersöz, Serhat Subaşı, Serkan Erken, Serkan Fidan, Serkan Göl, Serkan Sığın, Serkan Tosun (The Smoking Kills Company), Serkan Uzunoğlu, Sertaç Şanlı, Servet Güven, Servet Kocakaya, Sevil Becer, Sevil Esen, Sevim Eren, Sevin Okyay, Sevinç Çelikten, Seyda Perinçek, Seyidxan, Seyit Ahmet Durak, Seyithan Kızıl, Sezai Sarıoğlu, Sıla Gerbağa, Sibel Altan, Sibel Demir, Sibel Köse, Silver Kesici, Simge Pınar, Sinan Erkoç, Sinan Gökçe, Sinan Güngör, Sinan Sakızlı, Siyabend Arslan, Sokak Orkestrası, Sokak Sanatçıları Derneği, Solmaz Nerat, Soner Olgun, Soner Soyer, Songül Bulur, Songül Özdemir, Stêra Müzik Topluluğu, Su İdil, Suat Ekin, Suat Kaya, Suat Koçak, Suat Polat, Suavi, Suleyman Çarnewa, Suna Alan, Süreyya Akay, Süvari Öztürk, Şafak Bozacıoğlu, Şafak Yeşilli,

Şahin Çokbilir, Şahin Yişin, Şahsenem, Şebnem Aslan, Şebnem Budak (N R-I GÜRMAN), Şebnem Sönmez, Şenay Lambaoğlu, Şener Cicili, Şener Yıldız, Şervan Zilan, Şerwan Hameran, Şêrzad, Şevket Akıncı, Şeyhmus Sevenoğlu, Şivan Perwer, Şiyar Ayaz, Şoreş, Şükrü Erbaş, Tacettin Ocak, Tacım Demirkaya, Tahir Ayne, Tahir Demir, Taner Akyol, Taner Öngür, Taner Özdemir, Taner Tanrıverdi, Taner Yücel, Tanju Arıkan, Tarık Aslan, Tarık Karakoç, Tarık Kavut, Tarık Sezer, Taylan Koçkaya, Taylan Özgür Ölmez, Tekin Turan, Tersname, Tevfik Fikret Tufan, Timuçin Gürer (MOZAİK & KEKEÇA), Tolga Akdoğan (ADAMLAR), Tolga Aksoy (KOMİK GÜNLER), Tolga Atkın (KORİDOR), Tolga Kaya, Tolga Sağ, Tolgahan Çoğulu, Toprak Güzelcan, Tufan Bayram, Tuğçe Şenoğul, Tuğrul Keskin, Tuhan Ünal Çakır, Tuna Kiremitçi, Tuncay Seza Ak, Tuncer Duman, Tuncer Gümüş (GRUP MUNZUR), Tunçel Gülsoy, Turabi Yıldırım, Tural Aslan, Turan Çeliker, Turan Parlak, Turgay Güzelcan, Turgay Polat, Turgut Alp Bekoğlu, Turgut Kaçan, Turgut Özlemez,

Turhan Oğuzhan Atay, Tülay Şahin, Tünay Bozyiğit, Udi Yervant, Ufuk Benli, Ufuk Beydemir, Ufuk Coşkun, Ufuk Lüker, Uğur Akdora, Uğur Besim Bolat, Uğurcan Kesici, Ulaş Akyol, Ulaş Keskin, Umay Umay, Umut Özensoy, Umut Altınçağ, Umut Berberoğlu, Umut Bulut, Umut Gündüz, Umut Kahraman, Umut Kılıç, Umut Yenilmez, Ülker Sarı, Ülkü Aybala Sunat, Ülkü Eyupoğulları, Ümit Dindoruk, Ümit Öylü, Ümit Şevki Somyürek, Ümit Taşıyan, Ümran Serhan, Üner Demir, Vahap Arayıcı, Vahap Ayhan, Vartkes Keşiş, Vecdi Yücalan (OBJEKTİF), Vedat Aldemir, Vedat Güler, Vedat Gündoğdu, Vedat İçen, Vedat Sakman, Vedat Vural, Vedat Yıldırım, Vehbi Karabacak, Velit Aydın (ZANAX), Veys Çolak, Veysel Ciwan, Veysi Tekin, Volkan Şahin, Volkan Yagan, Yağız Polat, Yalçın Dönmez, Yankı Tan, Yaprak Melike Uyar, Yaren Eren Budak, Yasak Helva, Yasemin Göksu, Yasemin Özler, Yasemin Uludoğan, Yasin Balmuk, Yasin Bulun, Yasin Dindar, Yasin Yiğit, Yaşar Aydın, Yaşar Günaçgün, Yaşar Kabaosmanoğlu, Yaşar Kadir Baş, Yaşar Kurt, Yavuz Top, Yavuz Yaprak, Yekbun Sincar, Yelda Altunal, Yelda Emek, Yelda Karataş, Yeliz, Yeliz Güzel, Yeliz İlter, Yeşim Kantekin, Yeşim Salkım, Yetkiner Ünal, Yıldırım Yalçınkaya, Yılmaz Çelik, Yılmaz Karaarslan, Yılmaz Koç, Yılmaz Odabaşı, Yılmaz Sütçü, Yiğit Avcı, Yiğit Karakaya, Yiğit Özatalay, Yiğit Şen, Yol’a Düş, Yoldaşça Türküler, Yurdal Çağlar, Yusuf Asan, Yusuf Deniz, Yusuf Gül, Yusuf Karapınar, Yusuf Kenan Bilici, Yüksel Arslan, Yüksel Aydoğan, Yüksel Somyürek, Zafer Aslan, Zafer Başaran, Zafer Baykal, Zafer Güler, Zafer Olcay, Zafer Özkan, Zafer Taşdan, Zehra Er, Zekiye Öner, Zelal Gökçe, Zeynel Lüle, Zeynep Casalini, Zeynep Karababa, Zeynep Kılıç, Zhandos Yestay (EZGİNİN GÜNLÜĞÜ), Zuhal Focan, Zuhal Olcay, Zülfü Beyhan, Zülfü Livaneli.

Posted by: bluesyemre | June 8, 2022

Full Performance (Live on KEXP) #AltınGün

http://KEXP.ORG presents Altın Gün performing live in the KEXP studio. Recorded April 13, 2022.

Ordunun Dereleri
Badi Sabah Olmadan
Cips Kola Kilit
Kalk Gidelim

Erdinc Ecevit – Vocals / Saz / Synths
Merve Dasdemir – Vocals / Synths
Jasper Verhulst – Bass
Daniel Smienk – Drums
Chris Bruining – Percussion
Thijs Elzinga – Guitar

Host: Larry Mizell, Jr.
Audio Engineers: Marco Martin, Kevin Suggs & Juan Takahashi
Audio Mixer: Jasper Geluk
Mastering: Matt Ogaz
Cameras: Jim Beckmann, Carlos Cruz, Alaia D’Alessandro & Kendall Rock
Editor: Jim Beckmann

Altin Gün

Op. Dr. Mustafa Anter’in koleksiyonu, askeri havacılık tarihini Üniversitemize taşıdı.

At the heart of the work of IFLA and the library field as a whole around the SDGs is the fact that libraries are partners for development, across the policy agenda. This isn’t just a theory, but something that is made reality every day.

As a result, it makes sense that libraries should also be involved in wider initiatives that look to deliver on development goals, at the national and international levels. And there is so much scope to be enterprising and innovative in how we get involved!

We interviewed Merve Yavuzdemir from Turkey, who is running library projects with the United Nations Development Programme, to find out more, and to underline the possibilities for libraries everywhere to be proactive in taking a place at the table!

1) Being innovative is not always part of people’s stereotype of libraries – how are you working to combat this?

As in many parts of the world, a large part of society in Turkey thinks that libraries consist of book warehouses. However, libraries have already turned from lending spaces into learning spaces. The content of learning spaces develops in parallel with the needs of society. While the expectation of the industrial society was rather simple, the expectation of the information society is much different. Now we are in the period of Society 5.0. It is no longer possible to think of solution-oriented library services that will meet the needs of smart societies separately from innovation. In this context, we look at the library field from the perspective of social innovation and entrepreneurship. We update traditional services with user-oriented designs. Of course, this is not easy to do.

As Kütüp-Anne Platform team, we participated in training on social innovation and entrepreneurship in advance. Then, we created projects for libraries in national and international social innovation platforms and carried out advocacy activities. We have updated our discourses and targets with a focus on innovation. In this way, we have given greater consideration to the UN 2030 agenda.

In short, we have opened a way forward where we can advocate for the library by breaking down stereotypes.

2) The same goes for being entrepreneurial. How does your work look to apply ideas from entrepreneurship to the library field?

Libraries in Turkey are public spaces that provide free service to the community. In my opinion, libraries have an important role in producing solutions to both global and local problems. They can do this directly or as a creative solution center, they can inspire, and they can offer opportunities to their users.

For example, we consider “the green library” approach to be a part of this solution. During the Covid-19 period, libraries supported health staff by designing masks and visors in their makerspaces , and producing them on 3D printers. This is a very important example in this regard.

The number of incubation centers for start-ups is increasing in our country. Libraries, on the other hand, serve as the incubation center of society as a lifelong learning center. It offers opportunities to many local start-ups, especially with the equality of opportunity it offers in access to technology.

3) How easy has it been to get people working on programmes related to innovation, entrepreneurship and leadership to think about libraries?

While it is not easy to understand innovation correctly even in the library ecosystem, it is much more difficult for libraries to be accepted in the innovation, entrepreneurship, and leadership ecosystem. Especially at a time of focus on technology-centered initiatives as a locomotive in this field, the number of those who perceive libraries as a public institution that has reached the end of their lifetime is not small at all.

The publications and discourses of IFLA (especially the advocacy subgroup) to overcome this obstacle have been very inspiring for us.

We have followed the library field very closely on a global scale. Most importantly, we have closely observed the demands and needs of society and analyzed its problems. Thus, we have been successful in social innovation programs because the projects we have produced have the potential to be a solution to a real social problem.

Of course, we could not succeed in every program in which we participated. However, every program we attended provided us with an important and growing social network. Our experiences have enabled us to develop the right discourse and perspective for future programs.

The most common questions we encounter in such programs are “Why should I go to the library when I can easily access every information with Google?” and “Will e-books not completely end the need for published books?”.

So, it was not easy at first to convince the opinion leaders in a short time. Now, we give examples of libraries located on Google campuses and bookstores opened by Amazon while answering such questions. Then, we tell them about the new role of libraries.

4) What has your experience of working with UNDP been?

As in all member countries, there is an Accelerator Lab within the scope of the United Nations Development Programme (UNDP) in Turkey. Through this, UNDP aims to build a global network and multiply good practices to achieve the UN2030 Agenda. In this context, the UNDP Accelerator Lab called for candidates for the Social Innovation Support Program at the end of 2020.

As the social innovation project team we formed within the scope of the Kütüp-Anne Platform, we submitted the Agro-Library Project. After a 3-stage evaluation process, we were one of the successful projects – one of 10 projects out of more than 400 applicants. UNDP has also decided to provide piloting support to our project. Pilot implementation of the Agro-Library Project has been continuing since June 2021 with the financial support of UNDP.

When the project is finalized, first the national and then the international presentation process will begin. In other words, our experience will be shared alongside the Agro-Library guide as a good example in the Accelerator Labs network.

This has been a very instructive process for us. The UNDP team provided consultancy throughout the process to ensure that our project matched with the Sustainable Development Goals. As a team, we provided awareness to the UNDP team in the library field. So it was a mutually beneficial effort.

5) What about your experience of working with the EU office in Turkey? What has working with them allowed you to do?

As Kütüp-Anne Platform, we have completed four different EU projects so far. The biggest contribution of these projects to us has been to redefine libraries with a rights-based perspective.

Our projects are stated below:

1- The Library City Project – Ankara

Library City Project: Response to Quarantine Children of Covid-19” by Merve Yavuzdemir, founder and manager of the Kütüp-Anne Platform, a web-based resource for libraries, children’s books, and promoting reading culture in Turkey. 

Library City was a project in Ankara, Turkey, in May and June of 2020, where 600 children ages 3-10 were sent books to their homes while in strict quarantine. Posters of the covers of the books were also sent. After the children read the book, they displayed the poster for that book in their window for all to see. The children’s homes became the “library”. The campaign also included activities and resources for families. Hopefully we will not experience anything like or on the scale of the COVID-19 pandemic again. But this is a great idea and I could see replicating this as part of a winter or summer reading program during pandemic as well as “normal” times.” Tanya DiMaggio, Poster Sessions for Children’s Services at #ALAAC21, ALA Annual Conference 2021

2- The Library City Project – Konya

3- The Information Explorers

Information Explorer was a EU-funded project that helps children overcome the infodemic through media and information literacy during the covid-19 period.

4- Child Readers’ Rights

The Child Readers’ Rights project aims to discover children’s critical literacy skills, reveal their intellectual perspectives and expectations with concrete data, and explore the rights of readers in the scope of P4C workshops and resources prepared by our experts.

The Child Reader Rights Document created at the end of the project was published in 10 different languages. (

We also have new projects that we will start working on in the coming period and apply for EU financial support. I believe that we have raised the voice of libraries with the projects we carry out. We also support the ecosystem with these projects. For example, we provide training to librarians, produce materials for libraries, and raise awareness in society.

The fact that we always tend to provide more social impact than originally foreseen in the projects for which we receive financial support from the EU makes it easier for our new project applications to receive acceptance and financial support from the EU.

So, I think that we are setting a good example and motivate many library staff.

6) What are you most proud of in your work so far?

We are proud of every new platform where we raise the voice of libraries. The awards we have received in recent years and the programs we are a part of are as follows:

  • Ankara Development Agency Social Entrepreneurship Program for Youth – Education
  • UNDP Social Innovation Support Program – Award (Agro-Library)
  • Social Workshop – Social Innovation Acceleration Program – Award (Library of things)
  • Women in Innovation Program – Turkey’s 30 most innovative women (LibAround)
  • Junior Chamber International-Ten Outstanding Young Persons Of the Turkey – Cultural Achievement Category – First Prize
  • TechAnkara Entrepreneurship Center Program – Advanced Entrepreneurship Education
  • SheMakes (Google Turkey & MadiaCAT) – Leading Women of the Future Program
  • Brothers – Women Engaging in Life Training Program

7) What are your plans for 2022?

Our most important work area for 2022 is “fully accessible libraries”!

We would like to bring this issue to the agenda in terms of spatial, technological, and inclusive collections and services and include this issue among our social innovation projects.

In addition, there are institutions such as non-governmental organizations working in the library field. This year, we are planning an event where we can share the network and know-how among civil initiatives in the field of library and reading culture. This collaboration will be a work we care about for creating system thinking and coordination.

We also want to prepare a guide and checklist for the Agro-Library in cooperation with UNDP. We are still working on this project.

Another thing that we are excited about is the JCI TOYP 2022 Global competition. This year, I will be globally in the field of cultural achievement representing my country. I believe, that if our work in the library field receives such a global award, it will open many new doors for us.

On the other hand, I will present a paper at the 3rd International Children’s Libraries symposium this year, having also done so at the first two symposiums.

I am also taking personal training to write a picture book. I would love to write books that will bring children together with libraries.

8) What recommendations would you have to colleagues elsewhere?

When it comes to innovation, I believe there are 3 main obstacles to the development of the library field ecosystem: interdisciplinary work, collaboration, and coordination.

These three barriers prevent us from being inclusive, sustainable, and innovative while working in this field.

However, libraries have become an important center in society after the transformation they experienced. They have not only been a center of information and learning, but also have a focus on cultural and social belonging. In other words, it is an incubation center that offers the opportunity for the individual to realize themselves.

Considering the pioneering role of libraries and the value of stepping out of our comfort zone, it is very important to cooperate with different disciplines, be in contact with national and international cooperation organizations, and coordinate by enriching our existing network. Thus, we can expand our sphere of influence and find new financial support opportunities.

To develop our field, we should use innovation and entrepreneurship opportunities, which are indispensable for the 21st century and smart societies.

To share our experiences and collaborate, you can follow @kutupanne accounts or send an e-mail to

Spent a month traveling Norway and Recorded many sounds around the Lofoten Islands. These shots were particularly shot in Hamnøy and Reine which are very close. Reine, in my opinion is the most beautiful town in The Lofoten Islands and attracts many photographers year around. Hamnøy is very beautiful as well and a bit calmer.

Posted by: bluesyemre | June 8, 2022

We need to have a talk about #censorship

It’s not news at this point that Midwest Tape (MWT), parent company of digital library resource aggregator hoopla, has a major content problem. Back in February, Library Freedom Project (LFP) and Library Futures wrote a Medium post demanding accountability for the company’s platforming of white supremacist, fascist, homophobic, and disinformation-filled invective (for samples of the titles in question, see the #VendorSlurry hashtag on Twitter). Vice MotherboardLibraryJournal, and WGBH covered the situation, and a group of public library directors put pressure on Midwest Tape for a meeting with leadership at the Public Library Association (PLA) 2022 conference in Portland, Oregon. At the Massachusetts Library Association (MLA) 2022 conference held just a few weeks ago, company leadership was back to speak at a one-hour session hosted by MLA’s Intellectual Freedom and Social Responsibility Committee (IF/SRC). I wasn’t at PLA, but I was able to attend the MLA talk, and let’s say I was not impressed by what I heard.

Before I get to what happened at MLA, some additional background: LFP members not only worked on the Medium statement that went out into the world and spoke to media about the problems but also sent letters directly to MWT/hoopla CEO Jeff Jankowski. We received no response, but found that library directors who initiated conversations with the company about potentially unsubscribing did; this isn’t really surprising, given they aren’t missing out on money from people like me (wrong market) and LFP as an organization. The directors who spoke to company reps were disappointed by what they heard. It seems like it’s been a hodgepodge of hoopla folks falling back on their position that they must be “neutral” and work in accordance with the ALA’s Library Bill of Rights, a bunch of promises for functionality that both have no timeline for implementation and don’t address underlying concerns, and an oft-repeated desire to provide as much content as is possible for the platform to do. What was presented at MLA was all of this, plus a weighty tone of defensiveness that managed to make things even more off-putting.

At MLA, we heard from two customer relations types about the discovery of this content on the platform from their perspective and then a whole lot of half-explained statements about how they might fix the problem. This took up 2/3 of the allotted time in the session, which was a failure in and of itself as the room clearly wanted far more time for Q&A. I can’t recap everything that was said verbatim, but I did snag this photo of one of the slides in their deck.

This says “As a partner to public libraries, we aim for neutrality,” showing a screencap of the aforementioned Library Bill of Rights. On the one hand, this shows an impressive lack of understanding of current professional discourse; on the other, we need to have a serious chat as a field about whether or not we want to keep this document in its present form. In particular, we need to talk about these bits regarding “views”:

  • Materials should not be excluded because of the origin, background, or views of those contributing to their creation.
  • Libraries should provide materials and information presenting all points of view on current and historical issues.
  • A person’s right to use a library should not be denied or abridged because of origin, age, background, or views.
  • Libraries which make exhibit spaces and meeting rooms available to the public they serve should make such facilities available on an equitable basis, regardless of the beliefs or affiliations (views) of individuals or groups requesting their use.

Applying this inclusion of “all views,” as hoopla insists they do, means you get books in their collection on Holocaust denialism (Debating the Holocaust), COVID denialism (Fight COVID with Melatonin), conversion therapy (Attack on the Family), and defenses of the alt-right in their own words (A Fair Hearing). They acted to remove at least some of the Holocaust denialism texts from their platform, but hundreds if not thousands of titles in these other categories of xenophobia and disinformation are still on there, and they seem to believe it is the responsibility of individual libraries to report these books when they see them. That said, there are very limited collection management tools for library staff to use to actually deal with this trash – the default is for it to be included in hoopla’s library – and in the words of the hoopla reps at MLA, over 20,000 new titles are being added to the platform every month.

Saying “we need to present all views” is a close relative of the old chestnut “I don’t agree with everything on the shelf in my library!” which I heard a panelist announce at another MLA presentation last month. Both show a woefully facile understanding of the relationship between intellectual freedom and social responsibility, something that underscores the ineffectual and performative nature of diversity, equity, and inclusion statements and commitments to anti-racism that suddenly appeared for the first time in the summer of 2020. It makes me seethe when I hear librarians defending shelf space for this propaganda and hate speech while they also prattle on about their buildings being welcoming and accessible to all. Some of them – and hoopla is also along for this ride – will also go on about how we need to keep this stuff somewhere for a mythical public library patron who needs it for “research.” Yes, there are disinformation researchers in academia; no, they do not rely on hoopla’s collection targeted at public libraries (and in many cases, targeted at K-12 schoolchildren, as they depend on public library resources where school libraries have ceased to exist). Next door to this, you also get the librarians accusing each other of censorship by removing titles like the #VendorSlurry from their collections; I’ve been told I’m a censor for weeding, and how we need to keep weeding as “bias-free” as possible. Well, frankly, fuck that, because I am biased against xenophobic lies. I’ve said this before and I’ll say it again: if that makes me a censor, I’m happy to be one.

Zooming back out, the Midwest Tape folks talked about a few of the actions they’re taking in response to their content crisis, in particular the establishment of a content review board and the improvement of their “algorithm” (in particular, it sounded like adjusting how relevancy ranking works). I have to say, it’s always remarkable to me when I see tech companies operating in 2022 like they have paid absolutely no attention to the ever-growing body of research and recommendations coming out of critical technology/data studies, or even just what’s happening in the industry in general. (I feel like MWT would deny they are a tech company, even as they are acting an awful lot like the toxic bros of surveillance capitalism.) Facebook has a content review board that is famously a useless front. Our presenters informed us that 40% of the board would be made up of library-adjacent people – not even actual librarians, per se, but people who have had some sort of experience in the field, whether it be taking one class or working at another library vendor. The other 60% sounded like a random assortment of people at Midwest Tape. When pressed for details, like whether we could know who is on the board, we were told probably not because hoopla is concerned for their “safety.” This is quite the sidestep. Even if one assumes that means safety from fascists (and not safety from librarian activists, which is honestly what I think they mean), they are putting librarians making content decisions in the line of fire as they are public servants whose identity is necessarily and unavoidably known.

So, this leaves us with the technical fixes they did a whole bunch of hand-waving about. hoopla loves telling everyone about how their content selection happens via a mix of “human and automated processes,” but will never give anyone a lick of detail about what either the human or the automated processes in question look like. Now, one could argue this is the result of some NDA enforcement, but if that is the case – if we truly cannot know what these processes look like – that means libraries should not be using them. Just as you wouldn’t let the patron who got their umbrella stuck in the book drop suddenly take over your Ingram ordering, libraries cannot rely on random unknown actors, whether they are “human” or “automated,” to do collection development. hoopla should understand and respect the need for transparency on how these processes work; a library’s collection development policy and the staff resources spent on selecting and deselecting are core to the operations of the institution, and some might say a library isn’t a library (and is instead just a meaningless collection of junk, which is also what adding 20,000 titles per month to a digital library will get you) without those things in place. Until they can wrap their heads around this and stop with the “we’re improving our processes” crap by muttering some sweet nothings about search ranking, there’s nothing to be done here. And, guess what, guys – we aren’t concerned about whether Debating the Holocaust is number #2 in the results or number #2000. What we’re concerned about is why the shit it’s on the platform in the first place.

The MWT/hoopla situation is awful, no doubt, and Library Freedom Project, MLA IF/SRC, and our various allies are going to keep the pressure on. But librarianship has got to have a reckoning about this whole censorship/intellectual freedom/neutrality debacle. If our colleagues are defending hoopla’s selection of A New Nobility of Blood and Soil by a literal former SS Captain, a book not even sold on Amazon, in their obsessive quest for free speech absolutism, where do they draw the line? Books that encourage pedophilia, rape, suicide? I’m not sure I even want to know, considering how disappointed I am in this field already. But if they say they want all views, hey, well, those are views, too. 🤢

Posted by: bluesyemre | June 8, 2022

End of Year Reports: Which Reports to Run & Why?

Its that time of year again! That’s right, its time for the “end of year reports” (EOY Report). EOY reports are a good advocacy strategy that librarians often use to present the many ways the library served its students during the school year. Its a way to show the efforts and the outcomes of those efforts. Basically its one way to wrap the year up and celebrate some of the ways a successful school library benefited its students that year.

**Just to be clear its important that one EOY report every 12 months not be your only advocacy effort each year. Advocacy is more of a continual and ongoing (and constant) thing we should be working on all year, because, sadly, many people still don’t really understand how modern school libraries benefit the students and therefore it is very important that we are doing our best to try to educate our communities on the benefits.

EOY reports are also a good tradition because it forces the librarian to take a pause and to reflect on the year. To take a moment to “use the science in Library Science” by compiling, analyzing, synthesizing, and presenting on the actual data. It is so important that we are making data driven decisions, that we are keeping our student’s actual needs as the driving force for our programs, policies, resource curation, etc. Things can get chaotic and fast paced in our profession, and it can be hard to make sure we are not getting swept along with the tide of trends and personal interests, so its critical that we pause to reflect on and analyze the data. That we take time to pull as many reports as we can and to explore as much of the info as we can so that we can try to keep a clear picture of what’s working, what we should try next, what isn’t working or might need to be shifted or tweaked, etc. Sitting down with your data and synthesizing it into an EOY report really helps to keep our priorities in order, to ensure we are keeping those actual demonstrated student needs and interests as our driving forces. And it helps give us a good sense of what we might want to focus on during the upcoming school year.

In this post I’ll share some info on which reports I run in Destiny each year to gather my EOY report data, and will try to provide some examples of how I use or interpret the data.

How Do I Pull the Data?

The following is a list of the Destiny Reports that I run and how I use them to collect and compile my EOY data.

Collection Statistics – Historical – Examine circulation statistics for a particular timeframe. 

This is the report you use to run more comprehensive circ data. It allows you to limit or organize by time frame as well as copy category, resource list, call number prefix, or circulation type. It also lets you see results in PDF or excel.

I use this report to see how many circulations each genre gets. Because I use “copy category” to designate genre in my catalog, it allows me to run the circ data by genre via the copy category. This is why I highly recommend using not only sublocation but ALSO copy category to designate genre if you are generified.

I like to see which genres circulate the most as that helps me know what’s popular and that in turn helps inform my purchasing decisions in future.
Collection Statistics – Summary – Examine current circulation, age, and value statistics. 
 Cannot be run between 8:00 AM and 3:00 PM (Mon, Tue, Wed, Thu, Fri).

This is the really in depth stats report, usually used to help inform weeding decisions. I don’t tend to run this one for EOY report info but I do use it to help inform weeding.
Hold Statistics – Identify titles in high demand based on the holds placed. 

This report shows you which titles received the most holds in a time period. This can help inform you of some titles that you may want to purchase additional copies of so that hold lists don’t need to be as long.
Library Statistics – View a snapshot of the state of the library plus statistics. 

This is the report I use most often throughout the year, it provides a “quick glance” at your library statistics such as # of books checked out, # of items overdue, how many materials the library has, how many patrons, how many fines are due, etc.

I usually use this to run quick looks at total circulation in a given time period. For example if we have all of 9th grade into the library on a certain day for book buffets I might go to this report at the end of the day and click “see todays checkouts” so I could get a quick glance at how many books circulated during the day as a result of the book buffets!

I sometimes will then do a quick audit on the titles checked out that day to see if our circulations are inclusive of books with diverse voices and perspectives.

I also use this report to check the overall circulation for the year and comparing it to years previous.
Search Statistics – Examine how patrons are searching the library. 

This report is really neat, you can check to see which books/authors/things patrons typed into the destiny search bar most frequently.

You can sort this in a few different ways:
-Filter by “searches with results”: If you want to see which books you have in the collection that were searched for more often. This informs you on popularity of titles, its good additional info to circ data because it shows which books patrons are most often searching specifically, rather than finding spontaneously through browsing.

-filter by “searches without results”: this is a neat one to run because it will show you which things patrons typed into the search box to look for but which had no results. There are two different situations that crop up here:

–They spelled everything correctly but there were no results because your library does not have the item. This data can help indicate to you some items you might want to purchase. If a certain book or author is being searched for frequently but you don’t have it, perhaps that is a good indication there is enough demand for the book to buy it!

–They spelled something wrong or called it the wrong thing so that even though you do own the item they searched for it didnt show up in the results due to the misspelling: This is REALLY helpful, because you can use this info to add keywords to the item records so that the record WILL show up when they search the incorrect way. So, if you see a trend where a lot of people are searching for something one way, you may want to add that term to the book record.

For example, many of my students search for “Steven King” instead of “Stephen King.” When they search it with the incorrect spelling our catalog comes back with “no results” because the catalog does not know they mean “stephen king.” So I went into the stephen king records and added “steven king” into the marc records as an alternate name. Now when they search “steven king” the books by “stephen king” will show up! Its all about removing barriers of access where we find them. Another example is if they search for something like “the turn away study” it won’t show up because the book is actually called “the turnaway study.” So it can be really helpful to check the search statistics each year to keep up to date on some of the common mis-typed searches and add those terms to the marc records as “varying form” so when people use the mis-typed search it will still bring them to the item they are trying to find.
Top Homerooms/Grades – View a list of the homerooms or grade levels with the most circulations. 

This report allows you to sort circulation data by grade level of homeroom. I use this one to see which grade level checked out the most books in a year.
Top Patrons – View a list of the patrons with the most circulations.

This report lets you see which specific students had the most circulations in a given time period. I don’t publish that information because of student privacy, of course, but I do check and I’ll include something in my EOY report to indicate how many books our top patron checked out (but I do not mention the top patrons name or any identifying info). 
Top/Bottom Titles – View a list of the titles with the most or least circulations

This search lets you see which titles circulated the most or the least during a certain time period. I like to run this near the end of the year and I like to run it multiple times for different areas of the collection as this report allows you to run it by “total collection” OR to filter it by sublocation. So if you have your genres or sections set as sublocations you’ll be able to quickly see which books in each section were most popular!

So I’ll check the top 25 circulated Fiction titles, then limit it to nonfiction to see which 25 nonfiction circulated the most, then I’ll also do the same for memoirs, graphic novel, manga, and each genre section.

I then like to create little displays (physical and digital via tiktok) to show off our “Top 10 most circulated X books for the year!”
Title & Copy List – List your collection with optional copy detail. 

This is another report I run a lot. I often use this report to help inform weeding but in particular, at the end of the year, I run this report after I’ve completed inventory so I can see which books are “lost.” I like to run this report near the end of the year so I can go through it and make note of which of the lost books I’d like to purchase replacements for in the upcoming school year. I also use this report more generally to assist with weeding because it allows me to run the report as an excel sheet and to include both circ stats AND copy category info. Since I use copy category to identify the book’s genre, it is helpful for me to have a report like this that lets me filter and sort by copy category for weeding.

How Do I Present the Data?

Using a multi-pronged approach, because I know that if I only sent this out via email newsletter not that many people would see it. If we librarians are honest with ourselves we must admit that not that many people open and read our email blasts. It is understandable, as everyone in education is so profoundly overworked and overwhelmed, I can’t blame many for ignoring one more email. Nevertheless I do want people to see our incredible data and advocacy, so it takes a multi-pronged approach to get the info out there as widely as possible. Here are a few things I do:

  • Create an infographic
    • Share infographic via email blast to all staff
    • Share infographic via Canvas (our LMS) blast to all students
    • Ask Admin to share infographic in their EOY newsletter to families
  • Create a physical poster
    • I like to make my infographic into a large physical poster (using & place it outside the library’s entrance so anyone passing by can see it
  • Create instagram-able versions of the infographic
    • for sharing on our library socials. You can see the social media campaign posts in the slideshow below.

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