Parasite fauna of the grey mullet Mugil cephalus L. 1758, and its relationship with some ecological factors in Lower Kızılırmak Delta located by the Black Sea,Turkey

Parasites of the grey mullet Mugil cephalus collected from Lower K?z?l?rmak Delta in Turkey were investigated. Trichodina puytoraci, Trichodina lepsii, Ligophorus mediterraneus, Ligophorus cephali, Gyrodactylus sp., Microcotyle mugilis, Ascocotyle (Phagicola) longa, Haplosplanchnus pachysomus, Diplostomum spathaceum, Tylodelphys clavata, Posthodiplostomum sp., Neoechinorhyncus agilis and Ergasilus lizae were identified. Overall infection prevalence (%), mean intensity and mean abundance values were 99.61%, 458.10 ± 75.72 and 456.30 ± 75.44, respectively. Infection indices of parasite species in relation to season, lakes/lagoons and some physicochemical parameters of water such as temperature, salinity, dissolved oxygen and nitrate are determined and discussed. Posthodiplostomum sp. is a new parasite record for mugilids and Diplostomum spathaceum is the first record in M. cephalus, in the present study. Moreover, Ligophorus mediterraneus, Ligophorus cephali and Ergasilus lizae are new records for Turkish parasite fauna of fish and Mugil cephalus is a new host record for Neoechinorhyncus agilis in Turkey.     

利用能量原理研究单壁碳纳米管的剪切模量

利用能量方法研究了单壁碳纳米管（SWCNT）的剪切模量．采用分子力学理论得出了受扭矩作用下单壁碳纳米管的总势能;通过总势能与相应的薄壁圆筒的扭转变形能比较,推导出了单壁碳纳米管剪切模量的计算公式;碳纳米管剪切模量的计算结果与现有的研究结果相符,从而证实了本文计算公式正确有效．     

脱硫催化剂的酸法制备及性能研究

对用酸法进行催化剂制备，酸法制备的最佳镁铝比，分散介质的优化，引入对脱催化剂的氧化性能和还原性能的影响。以及实验室的还原温度等诸方面进行了研究。     

The Documentary Real: Thinking Documentary Aesthetics

In this article we consider the growing interest in recent years in the use of documentary strategies in the wold of contemporary art, film and performing arts and explore some of the central epistemological assumptions underpinning the persistent idea that the documentary should be equated with ‘non-fiction’. Following Stella Bruzzi we argue that if documentary theory maintains objectivity as the primary measure of value, it will inevitably and continuously arrive at the conclusion that the documentary genre is fundamentally flawed. Instead, we propose to move beyond the ‘realist epistemology’ of documentary theory and focus on the ‘documentary real’, i.e. the specific performativity of the reality constructed in and by the documentary genre. In the last paragraphs, we introduce the various articles that address the “documentary real” in this special issue.     

The Applicability of Mathematics as a Philosophical Problem: Mathematization as Exploration

This paper discerns two types of mathematization, a foundational and an explorative one. The foundational perspective is well-established, but we argue that the explorative type is essential when approaching the problem of applicability and how it influences our conception of mathematics. The first part of the paper argues that a philosophical transformation made explorative mathematization possible. This transformation took place in early modernity when sense acquired partial independence from reference. The second part of the paper discusses a series of examples from the history of mathematics that highlight the complementary nature of the foundational and exploratory types of mathematization.     

The Perspective of the Instruments: Mediating Collectivity

Numerous studies in the fields of Science and Technology Studies (STS) and philosophy of technology have repeatedly stressed that scientific practices are collective practices that crucially depend on the presence of scientific technologies. Postphenomenology is one of the movements that aims to draw philosophical conclusions from these observations through an analysis of human–technology interactions in scientific practice. Two other attempts that try to integrate these insights into philosophy of science are Ronald Giere’s Scientific Perspectivism (2006) and Davis Baird’s Thing Knowledge (2004). In this paper, these two approaches will be critically discussed from the perspective of postphenomenology. We will argue that Giere and Baird problematically assume that scientific instruments (a) have a determined function, and (b) that all human members of a scientific collective have immediate access to this function. However, these assumptions also allow them to offer a clear answer to the question how scientists can collectively relate to scientific phenomena. Such an answer is not yet (explicitly) formulated within the postphenomenological perspective. By adding a postphenomenological touch to the semiotic approach in Actor-Network Theory, we offer an account of how different individual human–technology relations are integrated into larger scientific collectives. We do so by showing that scientific instruments not only help constitute scientific phenomena, but also the intersubjectivity within such collectives.     

Quantum Theory and the Nature of Consciousness

Our interest focusses on the idea, that consciousness is a powerful acting entity. Up to now there does not exist a scientific concept for this idea. This is not due to problems within the field of psychology or brain research, but rather in resisting theories of modern physics. That is, why we have to search for a solution in the field of physics. A solution can be found in a new understanding of the basics of physical theory. That could be given by abstract and absolute quantum bits of information (AQI bits). To avoid the popular misunderstanding of “information” as “meaningful” it was necessary to find a new word for the free-of-meaning AQI bits: the AQI bits establish a quantum pre-structure termed “Protyposis” (Greek: “pre-formation”), out of which real objects can be formed, starting from energetical and material elementary particles. The Protyposis AQI bits provide a pre-structure for all entities in natural sciences. They are the basic entities, whereof the physical nature of the brain, on the one hand, and the mental nature of consciousness, on the other hand, were formed during the cosmological and the following biological evolution. A deeper understanding of quantum structures may help to overcome the resistance against quantum theory in the field of brain research and consciousness. The key for an understanding is the concept of Protyposis, which means an abstract quantum information free of any definite meaning. With the AQI bits of the Protyposis, both, massless and massive quantum particles can be constructed. Even quantum information with special meanings, in example grammatically formulated thoughts, eventually could be explained. As long as the fundamental basis of quantum theory is misunderstood as being formed by a manifold of some small objects like atoms, quarks, or strings, the problem of understanding consciousness has no solution. If instead we understand quantum theory as based on truly simple quantum structures, there would be no longer fundamental problems for an understanding of consciousness.     

Approximation,Mad Men and the Death of JFK

In this article I take the US television series Mad Men (2007—present) as an exemplary ‘approximation’, a term I adopt to signal the way in which certain texts construct a changeable, fluid ‘truth’ resulting from collisions, exchange and dialectical argument. Approximations are layered, their formal layerings mirroring a layered, multifaceted argument. Mad Men integrates and represents real historical events within a fictional setting, and act that suggests that an event or action can never be finished, fixed and not open to reassessment. Specifically, this article examines ‘The Grown Ups’, Episode 12 of Season 3, which charts the events of 22 November 1963, the day Kennedy was assassinated. Although we might be able to bring to mind the images and conspiracy theories that have been made available since (such Abraham Zapruder’s 8 mm home movie footage of the assassination), these images were not available at the time. Mad Men as a series always strives to represent its historical milieu as authentically as possible, so the characters re-enact 22 November 1963 as authentically as possible by watching only what was on television that day (the news bulletin, Walter Kronkite’s announcement that Kennedy is dead). The contemporary backdrop to these events, including the resonances of ‘9/11’ through Mad Men, inform and collide with the authenticity on the screen.