A case study was conducted to explore teachers? current technology use in elementary schools in Ankara, the capital of Turkey. The data were collected through a survey, and participants included 1030 classroom teachers across eight districts. The present study results revealed that significant challenges remain with regard to technology use in the classroom, even in the capital of Turkey, where teachers have advantages in terms of technology access and use compared to rural areas. The participant teachers used technologies most frequently (...) for lesson preparation activities, rather than for delivering instruction. Although the teachers felt that school principals and colleagues were usually supportive of technology use in lessons, they complained about insufficient professional development activities and incentives. Representing a snapshot of teachers? technology use in elementary school settings, this study sheds light on essential factors that should be considered in any technology integration process in schools. The study findings offer valuable insight for policy-makers and school leaders on how to support the technology integration process and allocate money for technology initiatives. (shrink)

In this study, the relationship between adolescents' perception of God, forgiveness inclination and anger was examined. For this purpose, it was determined whether the perception of God, forgiveness inclination, the trait anger and anger expression styles of the adolescents studying in different educational institutions differ according to demographic variables and the relationship between the adolescents' perception of God, forgiveness inclination and anger was determined. The sample of the study consists of 596 10th grade students studying in different types of high (...) schools in the city center of Ankara. The Demographic Information Form, The Forgiveness Inclination Scale, The God Perception Scale, The Trait Anger and Anger Expression Style Scale were used as data collection tools. The obtained data were analyzed with the unrelated samples t test when the scale scores of the two-category variables were normally distributed and with the Mann-Whitney U test when there was no normal distribution. For variables with more than two categories, the analysis of variance (ANOVA) was used in cases where the scale scores were normally distributed, and the Kruskal-Wallis H test was used in cases where the normal distribution could not be determined. As a result of the research, statistically significant differences were found in the scores of the sub-dimensions of the scales applied according to the demographic variables. In addition between the Forgiveness Inclination Scale distancing sub- dimension and trait anger, anger-out dimensions; It was determined that there was a positive, moderately statistically significant relationship between the forgiveness inclination scale revenge sub- dimension and trait anger, anger-in, anger-out dimensions. The findings were discussed in the light of the literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in (...) late sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

Spinoza genellikle zamanın gerçekdışı olduğunu düşünen bir filozof olarak değerlendirilmektedir. Bu makale Spinoza’nın zamanla ilgili yaklaşımını ele almakta, bu kapsamda öncelikle onun bu konuda geliştirdiği kavramların ve genel olarak zaman anlayışının dikkatli bir şekilde analiz edilmesi gerektiğini vurgulamaktadır. Bunun yanında, Spinoza’nın zamanla ilgili düşüncelerinin tarihsel bağlamına, örneğin sonsuzluk, nedensellik, Tanrı ve Kartezyen felsefe ile ilgili tartışmalara odaklanmaktadır. Son olarak, Spinoza’nın zaman felsefesini Laplaceçı determinizm ve blok evren teorisi gibi modern görüşlerle karşılaştırmalı olarak değerlendirmektedir. Zamanın gerçekdışı olduğu yönündeki argümanlar genellikle gündelik (...) zaman algımızın sorgulanması üzerine inşa edilmektedir. Spinoza, tüm varlıkların ebedî olanla ilişkisi içerisinde kavranması gerektiğini vurgulamıştır. Ona göre ebediyet özünde zamansızdır, ancak zamandaki öncesiz ve sonrasız olma durumunu gerektirir. Spinoza, süreyi varlığın ebedî doğasına benzer bir etkinlik olarak tanımlamıştır. Süre başlı başına zamansal değildir, ancak sürenin niceliksel karşılaştırmalar yoluyla sınırlandırılması sonucunda zaman ortaya çıkar. Spinoza’nın zamanı perspektife bağlıdır; bizle evren arasındaki ilişkiden doğar. Onun zorunluluğa dayanan zamansızlık düşüncesi blok evren teorisini çağrıştırır. Ne var ki Spinoza —blok evren teorisinin altında yatan düşüncelerden biri olan— mekanistik anlayışı nedenselliği dışsal olarak ele almakla eleştirmiş, bunun yerine ebedî olanla fiziksel zorunluluğun ontolojik bütünleşmesini önermiştir. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced on (...) May 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in (...) late sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced on (...) May 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

In this paper, I propose an account that accommodates the possibility of experimentation being exploratory in cases where the procedures necessary to plan and perform an experiment are dependent on the theoretical accounts of the phenomena under investigation. The present account suggests that experimental exploration requires the implementation of an exploratory procedure that serves to extend the range of possible outcomes of an experiment, thereby enabling it to pursue its objectives. Furthermore, I argue that the present account subsumes the notion (...) of exploratory experimentation, which is often attributed in the relevant literature to the works of Friedrich Steinle and Richard Burian, as a particular type of experimental exploration carried out in the special cases where no well-formed theoretical framework of the phenomena under investigation exists. I illustrate the present account in the context of the ATLAS experiment at CERN’s Large Hadron Collider, where the long-sought Higgs boson has been discovered in 2012. I argue that the data selection procedure carried out in the ATLAS experiment illustrates an exploratory procedure in the sense suggested by the present account. I point out that this particular data selection procedure is theory-laden in that its implementation is crucially dependent on the theoretical models of high energy particle physics which the ATLAS experiment is aimed to test. However, I argue that the foregoing procedure is not driven by the above-mentioned theoretical models, but rather by a particular data selection strategy. I conclude that the ATLAS experiment illustrates that, contrary to what previous studies have suggested, there are cases of experimentation in which exploration serves to test theoretical predictions and that theory-ladenness plays an essential role in experimentation being exploratory. (shrink)

ArgumentIn the theory-dominated view of scientific experimentation, all relations of theory and experiment are taken on a par; namely, that experiments are performed solely to ascertain the conclusions of scientific theories. As a result, different aspects of experimentation and of the relations of theory to experiment remain undifferentiated. This in turn fosters a notion of theory-ladenness of experimentation (TLE) that is toocoarse-grainedto accurately describe the relations of theory and experiment in scientific practice. By contrast, in this article, I suggest that (...) TLE should be understood as anumbrella conceptthat has different senses. To this end, I introduce a three-fold distinction among the theories of high-energy particle physics (HEP) as background theories, model theories, and phenomenological models. Drawing on this categorization, I contrast two types of experimentation, namely, “theory-driven” and “exploratory” experiments, and I distinguish between the “weak” and “strong” senses of TLE in the context of scattering experiments from the history of HEP. This distinction enables identifying the exploratory character of the deep-inelastic electron-proton scattering experiments – performed at the Stanford Linear Accelerator Center (SLAC) between the years 1967 and 1973 – thereby shedding light on a crucial phase of the history of HEP, namely, the discovery of “scaling,” which was the decisive step towards the construction of quantum chromo-dynamics as a gauge theory of strong interactions. (shrink)

According to the hierarchy of models (HoM) account of scientific experimentation developed by Patrick Suppes and elaborated by Deborah Mayo, theoretical considerations about the phenomena of interest are involved in an experiment through theoretical models that in turn relate to experimental data through data models, via the linkage of experimental models. In this paper, I dispute the HoM account in the context of present-day high-energy physics (HEP) experiments. I argue that even though the HoM account aims to characterize experimentation as (...) a model-based activity, it does not involve a modeling concept for the process of data acquisition, and it thus fails to provide a model-based characterization of the theory-experiment relationship underlying this process. In order to characterize the foregoing relationship, I propose the concept of a model of data acquisition and illustrate it in the case of the ATLAS experiment at CERN’s Large Hadron Collider, where the Higgs boson was discovered in 2012. I show that the process of data acquisition in the ATLAS experiment is performed according to a model of data acquisition that specifies and organizes the experimental procedures necessary to select the data according to a predetermined set of selection criteria. I also point out that this data acquisition model is theory-laden, in the sense that the underlying data selection criteria are determined by considering the testable predictions of the theoretical models that the ATLAS experiment is aimed to test. I take this sense of theory-ladenness to indicate that the relationship between the procedures of the ATLAS experiment and the theoretical models of the phenomena of interest is first established, prior to the formation of data models, through the data acquisition model of the experiment, thus not requiring the intermediary of other types of models as suggested by the HoM account. I therefore conclude that in the context of present-day HEP experiments, the HoM account does not consistently extend to the process of data acquisition so as to include models of data acquisition. (shrink)

According to the hierarchy of models account of scientific experimentation developed by Patrick Suppes and elaborated by Deborah Mayo, theoretical considerations about the phenomena of interest are involved in an experiment through theoretical models that in turn relate to experimental data through data models, via the linkage of experimental models. In this paper, I dispute the HoM account in the context of present-day high-energy physics experiments. I argue that even though the HoM account aims to characterize experimentation as a model-based (...) activity, it does not involve a modeling concept for the process of data acquisition, and it thus fails to provide a model-based characterization of the theory-experiment relationship underlying this process. In order to characterize the foregoing relationship, I propose the concept of a model of data acquisition and illustrate it in the case of the ATLAS experiment at CERN’s Large Hadron Collider, where the Higgs boson was discovered in 2012. I show that the process of data acquisition in the ATLAS experiment is performed according to a model of data acquisition that specifies and organizes the experimental procedures necessary to select the data according to a predetermined set of selection criteria. I also point out that this data acquisition model is theory-laden, in the sense that the underlying data selection criteria are determined by considering the testable predictions of the theoretical models that the ATLAS experiment is aimed to test. I take this sense of theory-ladenness to indicate that the relationship between the procedures of the ATLAS experiment and the theoretical models of the phenomena of interest is first established, prior to the formation of data models, through the data acquisition model of the experiment, thus not requiring the intermediary of other types of models as suggested by the HoM account. I therefore conclude that in the context of present-day HEP experiments, the HoM account does not consistently extend to the process of data acquisition so as to include models of data acquisition. (shrink)

I examine the construction process of the “Higgs mechanism” and its subsequent use by Steven Weinberg to formulate the electroweak theory of elementary particle physics. I characterize the development of the Higgs mechanism as a historical process that was guided through analogies drawn to the theories of solid-state physics and that was progressive through diverse contributions in the sixties from a number of physicists working independently. I also offer a detailed comparative study of the similarities and the differences that exist (...) between the approaches taken in these contributions. (shrink)

I examine the construction and evaluation of machine learning binary classification models. These models are increasingly used for societal applications such as classifying patients into two categories according to the presence or absence of a certain disease like cancer and heart disease. I argue that the construction of ML classification models involves an optimisation process aiming at the minimization of the inductive risk associated with the intended uses of these models. I also argue that the construction of these models is (...) underdetermined by the available data, and that this makes it necessary for ML modellers to make social value judgments in determining the error costs used in ML optimization. I thus suggest that the assessment of the inductive risk with respect to the social values of the intended users is an integral part of the construction and evaluation of ML classification models. I also discuss the implications of this conclusion for the philosophical debate concerning inductive risk. (shrink)

Bu çalışmada, varoluş kavramı felsefi açıdan detaylı bir şekilde ele alınarak, varoluşun günümüzün gittikçe sanallaşan insanı açısından ne anlama geldiği incelenmektedir. Varoluş kavramı, insanın varoluşunu ve yaşamını anlamaya yönelik felsefi bir kavramdır. Bu çalışmada Kierkegaard’ın varoluş aşamaları günümüz perspektifinden ele alınarak, insanlığın karşı karşıya olduğu mevcut dijital sorunlar ve değişim süreci incelenmektedir. Kierkegaard’ın varoluş aşamaları ışığında fiziksel dünyada yaşanan varoluş süreçlerinin, metaverse sanal evreninde nasıl gerçekleştiği değerlendirilmekte ve özellikle estetik varoluş üzerinde durularak ve bireyin sanal dünyada estetik varoluşu Kierkegaard’ın betimlediği (...) karakterler üzerinden haz kavramı temelinde tartışılmaktadır. Çalışmada, teknoloji, sanal evren, metaverse gibi kavramlar irdelenirken bu kavramlarla karşı karşıya kalan günümüz insanının varoluşunu algı tuzaklarına düşmeden ne ölçüde gerçekleştirebileceği Kierkegaard’ın Mefisto karakteri üzerinden ele alınmaktadır. Buna bağlı olarak teknolojinin gelişmesi ve varoluş kavramları ışığında, hız ve haz ekseninde konumlanan bir bireyin karşı karşıya olduğu psikolojik riskler, diğer insanlarla ilişkileri, kendisi ile olan ilişkisi, sosyal mecralar ile olan ilişkisi ele alınarak derin düşünmekten sürekli kaçınarak yüzeyselliğe ve hazzın büyüsüne sığınan insanlığın karşılaştığı tehlikeye dikkat çekilmektedir. Mefisto karakteri analizinin bu konularda hem aydınlatıcı hem de farkındalık yaratıcı olması amaçlanmaktadır. (shrink)

Atrial natriuretic peptides appear to elicit their actions in some target tissues by binding to a novel cell‐surface transmembrane protein which possesses both peptide binding and guanylate cyclase activities. Ligand binding stimulates enzyme activity to produce increased intracellular concentrations of cyclic GMP which, in turn, mediates the cell's physiological response.

The aim of this study is to investigate the effects of personal values on auditor's ethical decisionmaking in two countries, namely, Pakistan and Turkey. This study is the first that empirically addresses the role of values in the ethical decision-making processes of Pakistani and Turkish Professional auditors. This study surveys a random sample of these countries' professional certified auditors to assess their value preferences and reactions to an ethical dilemma. This study measures practicing auditors' value preferences by using the Rokeach (...) value survey, and a case study is used to measure the reactions to an ethical dilemma involving client pressure for aggressive financial reporting. This study did not find statistically significant difference between the mean values of moral intensity in these two countries. On the other hand, we found statistically significant differences between the terminal and instrumental values of the auditors in the countries studied. This study suggests that perceptions of moral intensity influenced both ethical judgments and behavioral intensions. (shrink)

In relatively recent years, quite a number of diverse case studies concerning the use of visual displays—such as graphs, diagrams, tables, pictures, drawings, etc.—in both the physical and biological sciences have been offered in the literature of the history and philosophy of science —see, e.g., Miller 1984; Lynch and Woolgar 1990; Baigrie 1996; Pauwels 2006. These case studies have shown that visual representations fulfill important functions in both the theoretical and experimental practices of science, thereby emphasizing the non-verbal dimension of (...) scientific inquiry that had been neglected by the traditional language-based conception of science, which takes the production, justification and... (shrink)

In the philosophical literature concerning scientific experimentation, the notion of robustness has been solely discussed in relation to experimental results. In this paper, I propose a novel sense of experimental robustness that applies to experimental procedures. I call the foregoing sense of robustness procedure robustness and characterize it as the capacity of an experimental procedure to maintain its intended function invariant during the experimental process despite possible variations in its inputs. I argue that PR is a precondition for what I (...) call result robustness, which refers to the traditional sense of experimental robustness, namely the existence of convergent experimental results obtained through different and independent means of detection. Furthermore, I argue, PR and RR constitute useful experimental strategies in the context of high-energy physics experiments, but these strategies are not without limitations. (shrink)

People often deny having meant what the audience understood. Such denials occur in both interpersonal and institutional contexts, such as in political discourse, the interpretation of laws and the perception of lies. In practice, denials have a wide range of possible effects on the audience, such as conversational repair, reinterpretation of the original utterance, moral judgements about the speaker, and rejection of the denial. When are these different reactions triggered? What factors make denials credible? There are surprisingly few experimental studies (...) directly targeting such questions. Here, we present two pre-registered experiments focusing on (i) the speaker’s incentives to mislead their audience, and (ii) the impact of speaker denials on audiences’ moral and epistemic assessments of what has been said. We find that the extent to which speakers are judged responsible for the audience’s interpretations is modulated by their (the speakers’) incentives to mislead, but not by denials themselves. We also find that people are more willing than we expected to revise their interpretation of the speaker’s utterance when they learn that the ascribed meaning is false, regardless of whether the speaker is known to have had incentives to deceive their audience. In general, these findings are consistent with the idea that communicators are held responsible for the cognitive effects they trigger in their audience; rather than being responsible for, more narrowly, only the effects of what was “literally” said. In light of our findings, we present a new, cognitive analysis of how audiences react to denials, drawing in particular on the Relevance Theory approach to communication. We distinguish in particular: (a) the spontaneous and intuitive re-interpretation of the original utterance in light of a denial; (b) the attribution of responsibility to the speaker for the cognitive effects of what is communicated; and (c) the reflective attribution of a particular intention to the speaker, which include argumentative considerations, higher-order deniability, and reputational concerns. Existing experimental work, including our own, aims mostly at (a) and (b), and does not adequately control for (c). Deeper understanding of what can be credibly denied will be hindered unless and until this methodological problem is resolved. (shrink)

In the theory-dominated view of scientific experimentation, all relations of theory and experiment are taken on a par; namely, that experiments are performed solely to ascertain the conclusions of scientific theories. As a result, different aspects of experimentation and of the relation of theory to experiment remain undifferentiated. This in turn fosters a notion of theory-ladenness of experimentation that is too coarse-grained to accurately describe the relations of theory and experiment in scientific practice. By contrast, in this article, I suggest (...) that TLE should be understood as an umbrella concept that has different senses. To this end, I introduce a three-fold distinction among the theories of high-energy particle physics as background theories, model theories and phenomenological models. Drawing on this categorization, I contrast two types of experimentation, namely, “theory-driven” and “exploratory” experiments, and I distinguish between the “weak” and “strong” senses of TLE in the context of scattering experiments from the history of HEP. This distinction enables to identify the exploratory character of the deep-inelastic electron-proton scattering experiments—performed at the Stanford Linear Accelerator Center between the years 1967 and 1973—thereby shedding light on a crucial phase of the history of HEP, namely, the discovery of “scaling”, which was the decisive step towards the construction of quantum chromo-dynamics as a gauge theory of strong interactions. (shrink)

I examine the relation between explanation and unification in both the original Kaluza–Klein theory, which originated in the works of Theodor Kaluza and Oskar Klein in the 1920s, and in the modern Kaluza–Klein theories which date back to the late 1970s and which are still considered by the majority of the physics community to be the best hope for a complete unified theory of all fundamental interactions. I use the conclusions of this case study to assess the merits of Philip (...) Kitcher's account of explanation as unification. I also draw lessons about physicists’ pursuit of the higher dimensional unification of the fundamental forces of nature. (shrink)

In this thesis, I discuss the organism's self-organization from the perspective of relational ontology. I critically examine scientific and philosophical sources that appeal to the concept of self-organization. By doing this, I aim to carry out a thorough investigation into the underlying reasons of emergent order within the ontogeny of the organism. Moreover, I focus on the relation between universal dynamics of organization and the organization of living systems. I provide a historical review of the development of modern ideas related (...) to self-organization. These ideas have been developed in relation to various research areas including thermodynamics, molecular biology, developmental biology, systems theory, and so on. In order to develop a systematic understanding of the concept, I propose a conceptual distinction between transitional self-organization and regulative self-organization. The former refers to the spontaneous emergence of order, whereas the latter refers to the self-maintaining characteristic of the living systems. I show the relation between these two types of organization within biological processes. I offer a critical analysis of various theories within the organizational approach. Several ideas and notions in these theories originate from the early studies in cybernetics. More recently, autopoiesis and the theory of biological autonomy asserted certain claims that were critical toward the ideas related to self-organization. I advocate a general theory of self-organization against these criticisms. I also examine the hierarchical nature of the organism's organization, as this is essential to understand regulative self-organization. I consider the reciprocal relation between bottom-up and top-down dynamics of organization as the basis of the organism's individuation. To prove this idea, I appeal to biological research on molecular self-assembly, pattern formation (including reaction-diffusion systems), and the self-organized characteristic of the immune system. Finally, I promote the idea of diachronic emergence by drawing support from biological self-organization. I discuss the ideas related to constraints, potentiality, and dynamic form in an attempt to reveal the emergent nature of the organism. To demonstrate the dynamicity of form, I examine research into biological oscillators. I draw the following conclusions: synchronic condition of the organism is irreducibly processual and relational, and this is the basis of the organism's potentiality for various organizational states. (shrink)

Mandatory reporting of infectious diseases (MRID) is an essential practice to prevent disease outbreaks. Disease notification is a mandatory procedure for most infectious diseases, even during non-pandemic periods in healthcare. The main rationale behind MRID is the protection of public health. The information and data provided by infectious disease reports are used for many purposes, such as preventing the spread and potential negative impact of infectious diseases, assessing the national and global situation regarding reported diseases, conducting scientific research and planning (...) health policy. In this context, the relevant information benefits public health, health systems and scientific work. Additionally, the follow up and treatment of individuals with infectious diseases is a necessity in certain cases to protect those who cohabit with them. However, these benefits cannot be accepted as unrestricted justifications for MRID, since it is evident that reporting should be conducted within ethical and legal boundaries. MRID should only be devised and implemented with due regard to balancing potential benefits between all individuals, as well as between the individual and the rest of society. Disease notification systems that are not designed with a balancing and harm-reductionist approach may lead to stigmatisation and discrimination. This study aims to investigate the legal framework and ethical issues regarding the reporting of individuals diagnosed with COVID-19 in Turkey—which is a primary example of a developing country. (shrink)

Gravity’s Ghost is a book about the search for gravitational waves , which are predicted by the general theory of relativity to be ripples in space–time that propagate at the speed of light. The direct detection of GWs, if they exist at all, is exceptionally difficult, because they are theoretically expected to be very weakly coupled to matter. To this date, there is yet no conclusive evidence for the direct detection of GWs. The search for GWs was started by a (...) series of experiments performed by Joseph Weber in the 1960s. The history of the early GW detection experiments, as well as Weber’s claimed detection of GWs, which was eventually discredited, has been examined in great details by Harry Collins .Collins has long advocated a sociological approach to the study of scientific research groups that is premised on the view that in order to understand how scientific knowledge is produced collectively by a group of researchers, it is necessary to engage in the cultu .. (shrink)