Lloyd (2011) presents highly suggestive results regarding the specificity of the link between particular brain areas and cognitive tasks. Some of his evidence is derived from the analysis of data from the BrainMap database (available: www.brainmap.org), which has become a fundamental resource for the conduct of functional neuroimaging meta-analysis. In the present note, some observations regarding the possibilities and pitfalls of meta-analysis of functional neuroimaging data are given as a complement to Lloyd's excellent exposition of the topic. Additionally, some comments (...) are made on the particular meta-analytic results presented by Lloyd.Functional neuroimaging studies usually present their findings in the form .. (shrink)

This is a reply to G.K. Harrison's article «Hyper Libertarianism and Moral Luck». There he argues for the advantage of hyper-libertarianism upon reason-responsive compatibilism in virtue of its integration of moral luck in a principled way. I shall try to show that his argument is unsound. Crucial to my reply will be that Harrison's idea of moral luck is an unjustifiedly narrow one. Although the aim of establishing an appropriate connection between the issues of moral luck and free will is (...) worth pursuing, I shall argue that moral luck cannot solve the free will dispute in the way Harrison intends. (shrink)

Since most of the functions in cells are mediated by multimeric protein complexes, the determination of protein–protein interactions is an important step in the study of cellular mechanisms. Traditionally, after screening for possible target interactors by means of a yeast two‐hybrid screen, several methods are used to validate the initial result before carrying out functional experiments. Nowadays, non‐invasive fluorescence‐based methods like Bioluminescence Resonance Energy Transfer (BRET) and Fluorescence Resonance Energy Transfer (FRET) are widely used in the study of protein–protein interactions (...) in living cells. In the present review, we address the individual strengths and weaknesses of both RET approaches, providing information on their possible future use in the study of G protein‐coupled receptor oligomerization. BioEssays 30:82–89, 2008. © 2007 Wiley Periodicals, Inc. (shrink)

Sanayi devrimi sonrası Avrupa Devletleri’nde üretimin artması, yeni pazar ve hammadde ihtiyacını da beraberinde getirmiştir. Bu ihtiyacın giderilebilmesi için sanayi ürünlerinin ve üretim araçlarının tanıtılması amacı ile uluslararası sergiler düzenlenmeye başlanmıştır. Ayrıca bu sergilerle ülkelerin bilim, sanayi, teknoloji ve tarım alanındaki gelişme ve yeniliklerinin herkese duyurulması amaçlanmıştır. Öncülüğünü Fransa ve İngiltere’nin yaptığı sanayi sergileri, ilgili ülkelerin sömürgelerinden gelen hammadde ve bu hammaddelerden üretilen sanayi ürünlerinin pazarlanmasına yönelik olarak yapılmıştır. Başlangıçta sanayi ve ticari amaçla başlatılan sergiler, Avrupa ile Avrupa dışında bulunan (...) devletlerin kültür ve yerel sanatları arasında, etkileşime de sebep olmuştur. 18. yüzyılın sonlarından itibaren Fransa'da ulusal düzeyde ve 19. yüzyılın ilk yarısında çeşitli Avrupa ülkelerinde düzenlenen benzer olayların doruk noktası olan Londra sergisi ilk uluslararası sergi olarak kayda geçmiştir. 1851 yılında Londra’da açılan sergi bundan sonra düzenlenen diğer uluslararası sergilere de ilham kaynağı olmuştur. (shrink)

In his article, a unified brain-based determination of death is described by James Bernat (2024) as a permanent cessation of systemic circulation causing a permanent cessation of brain circulation...

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and often (...) displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

Three basic political positions on embryo research will be identified as libertarian, conservative, and social-democratic. The Human Embryo Research Panel will be regarded as an expression of the social-democratic position. A taxonomy of the ethical issues addressed by the Panel will then be developed at the juncture of political and ethical modes of reflection. Among the arguments considered will be those for the separability of the abortion and embryo research debates; arguments against the possibility of the preembryo being a person, (...) especially arguments associated with totipotency and the significance of the primitive streak; and the various reasons for regulating embryo research, including those associated with respect for the preembryo, the protection of traditional views of human procreation, and the prevention of commercialization. (shrink)

In this paper I shall venture into an area with which I am not very familiar and in which I feel far from confident; namely into phenomenology. My main motive is not to get away from standard, boring, methodological questions like those of induction and demarcation; but the conviction that a phenomenological account of the empirical basis forms a necessary complement to Popper's falsificationism. According to the latter, a scientific theory is a synthetic and universal, hence unverifiable proposition. In fact, (...) in order to be technologically useful, a scientific hypothesis must refer to future states-of-affairs; it ought therefore to remain unverified. But in order to be empirical, a theory must bear some kind of relation to factual statements. According to Popper, such a relation can only be one of potential conflict. Thus a theory T will be termed scientific if and only if T is logically incompatible with a so-called basic statement b, where b is both empirically verifiable and empirically falsifiable. In other words: T is scientific if it entails ¬b; where b, hence also ¬b, is an empirically decidable proposition. (shrink)

This book looks at the ways in which conditionals, an integral part of philosophy and logic, can be of practical use in computer programming. It analyzes the different types of conditionals, including their applications and potential problems. Other topics include defeasible logics, the Ramsey test, and a unified view of consequence relation and belief revision. Its implications will be of interest to researchers in logic, philosophy, and computer science, particularly artificial intelligence.

“Free riding,” used as a descriptive term, refers to taking a jointly produced benefit without contributing towards its production. Used as a term of criticism, it refers to the wrongful failure to contribute towards the joint production of benefits that one receives. On either usage, the central interest of moral philosophy in free riding is the same: to specify the conditions under which not contributing towards the joint production of benefits that one receives is wrong, and to explain why.

Ludwig Wittgenstein was born in 1889, son of parents of Jewish extraction but not Jewish religion. Asked how his family came by the name ‘Wittgenstein’ Ludwig said they had been court Jews to the princely family and so had taken the name when Jews were required by law to have European-style names. The father, Karl, was a Protestant, the mother a Catholic. The Jewish blood was sufficient to bring the family later on into danger under Hitler's Nuremberg Laws. They did (...) not think of themselves as Jews or belong to the Jewish community in Vienna. The children were brought up sort-of Catholic though so far as I know only the eldest, Hermine, towards the end of her life, took this seriously and made a profession of faith before friends and household. At 9 years of age Ludwig and Paul, a year or two older than Ludwig, talked together and decided that their religion was all nonsense. Paul became a pianist of some fame, but soon after his debut in Vienna he became a wounded prisoner on the Russian front and his arm was lopped off by a surgeon who did not know he was a pianist. (shrink)