Browsing by Author "Oguz, Kaya"

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Citation - WoS: 42
Citation - Scopus: 72
Perspectives on the Gap between the Software Industry and the Software Engineering Education
(Institute of Electrical and Electronics Engineers Inc., 2019) Damla Oguz; Kaya Oguz; Oguz, Kaya; Oguz, Damla
The gap between the software industry and software engineering education was first mentioned three decades ago in 1989. Since then its existence has been regularly reported on and solutions to close it have been proposed. However after thirty years this gap resists all efforts for closure. In this study we assert that the gap between industry and academia exists for several reasons that are related and intertwined. To take a broader look at the problem from the perspective of all related entities we (i) provide a detailed overview of the profession and identify the entities (ii) extract the causes that stem from these entities and discuss what each entity should do (iii) report and analyze the results of a questionnaire that has been conducted with students and recent graduates (iv) emphasize the highlights of the interviews conducted with students recent graduates and academics (v) and compile a list of skills that are sought by the industry by analyzing the software engineering job advertisements. We further contribute to finding solutions by considering all entities involved which provides an opportunity to access all of them so that each can find out what they can do to acknowledge and narrow the gap. Our study concludes that the gap requires constant attention and hard work for all of the entities involved and therefore all should be on the lookout for new technologies learn to embrace the changes and adapt to them so that the gap is kept at a minimum. © 2020 Elsevier B.V. All rights reserved.
Citation - Scopus: 5
Work of Art in the Age of Metaverse Exploring digital art through augmented reality
(ECAADE-EDUCATION & RESEARCH COMPUTER AIDED ARCHITECTURAL DESIGN EUROPE, 2022) Guzden Varinlioglu; Kaya Oguz; Doruk Turkmen; Irem Ercan; Gozde Damla Turhan; Turhan, Gozde Damla; Oguz, Kaya; Ercan, Irem; Varinlioglu, Guzden; Turkmen, Doruk; B Pak; G Wurzer; R Stouffs
The creation of artworks in the metaverse as unique files that exist on a blockchain world of the non-fungible tokens (NFTs) have revitalized discussions over the uniqueness of a work of art. Similar to the art world market in Second Life this has presented a novel way to collect imported or natively digital art. This raises the following questions: What are the processes that artwork undergoes in the web 3.0 or metaverse? What constitutes the reproduction/recreation of a work of art? Which tools can be exploited to create more content for this universe? How does this new approach affect ownership scarcity and authenticity? Unlike art productions that find a place in museums or galleries Daragac Art Collective independently uses the streets both as their location and as their canvas. This creates the need to store the artworks as fully as possible in any form available. With this aim a team of architects designers and software engineers designed implemented and tested a mobile application to represent and recreate the experience of the artworks in the digital environment. The artworks of independent artists were collected virtually and compiled in a relational database over the years and are displayed in their geographical coordinates and represented in the 3D world. After discussion on how to represent the artworks it was decided that some only exist in videos and photographs therefore we decided to use the archaeology of digital data and present them in 3D space to ensure their continued existence once they had been performed or exhibited. Illustrated by the case of our augmented application this paper discusses the reproduction of ownership and scarcity of artworks in terms of preserving a cultural heritage in the metaverse.