The scholarly impact of TRECVid (2003-2009)

This paper reports on an investigation into the scholarly impact of the TRECVid (TREC Video Retrieval Evaluation) benchmarking conferences between 2003 and 2009. The contribution of TRECVid to research in video retrieval is assessed by analyzing publication content to show the development of techniques and approaches over time and by analyzing publication impact through publication numbers and citation analysis. Popular conference and journal venues for TRECVid publications are identified in terms of number of citations received. For a selection of participants at different career stages, the relative importance of TRECVid publications in terms of citations vis a vis their other publications is investigated. TRECVid, as an evaluation conference, provides data on which research teams ‘scored’ highly against the evaluation criteria and the relationship between ‘top scoring’ teams at TRECVid and the ‘top scoring’ papers in terms of citations is analysed. A strong relationship was found between ‘success’ at TRECVid and ‘success’ at citations both for high scoring and low scoring teams. The implications of the study in terms of the value of TRECVid as a research activity, and the value of bibliometric analysis as a research evaluation tool, are discussed

Automatic Annotation of Images from the Practitioner Perspective

This paper describes an ongoing project which seeks to contribute to a wider understanding of the realities of bridging the semantic gap in visual image retrieval. A comprehensive survey of the means by which real image retrieval transactions are realised is being undertaken. An image taxonomy has been developed, in order to provide a framework within which account may be taken of the plurality of image types, user needs and forms of textual metadata. Significant limitations exhibited by current automatic annotation techniques are discussed, and a possible way forward using ontologically supported automatic content annotation is briefly considered as a potential means of mitigating these limitations

The model of understanding education and lifelong learning in Turkish modernization of Ahmet Midhat

The literary works of Ahmet Midhat Efendi like novels, stories, drama, travel writings in addition to subjects over education, pedagogy, sociology, philosophy and other fields have taken a vital place in Turkish literature. While the first Turkish modernizers gave priority to take the country out of the hard situation by reforming military and political areas, Ahmet Midhat argued that the social change and transformation can be achieved by educating individuals. Ahmet Midhat who tried to improve his educational background by spending personal efforts, always attempted to make education a constant activity for himself and people around him even during the times he was outside Istanbul for journalism, writing, familial issues and other reasons.The purpose of this paper is to show what kind of social benefit based theoretical methods were employed to concretize Ahmet Midhat’s educational view in his novels and stories by associating it with lifelong learning.In this study, the aim is to show by which theoretical methods lifelong learning is concretized in Ahmet Midhat’s novels and stories that are based on social benefit, and to demonstrate its relationship with educational conception.In the study, Ahmet Midhat’s novels which are especially handling directly family and education subjects like “Çingene”, “Felatun Bey ile Rakım Efendi”, “Diplomalı Kız” are taken as basis. To achieve this aim, a survey research has been made while scanning the works mentioned above. Moreover, the relationship between the given data and lifelong education has been tried to be put forward.At the end of the paper, Ahmet Midhat Efendi’s novels have been examined and it’s been evident that his lifelong learning approach is enough for educational process. Ahmet Midhat who aimed to build his own audience and to educate them has achieved two things in his novels: Firstly, the idealized characters told in Midhat’s novels and stories, who tried improving degree of their knowledge and enriching their lives, reached the success in different fields were given in theoretical level.   This technique which is used by the author in his novels has an aesthetic basis as a social aspect of literature. Secondly, the author gives encyclopedic information to the audience by going out of the fictional text. Furthermore, since the author is using traditional storytelling as a way to establish a dialogue with the audience, it’s obvious that he views the reader as the subject of the lifelong learning. His style which is criticized to be a dry didacticism is mostly originates from his perception of authorship, which is regarded as a school

Mind the Gap: Another look at the problem of the semantic gap in image retrieval

This paper attempts to review and characterise the problem of the semantic gap in image retrieval and the attempts being made to bridge it. In particular, we draw from our own experience in user queries, automatic annotation and ontological techniques. The first section of the paper describes a characterisation of the semantic gap as a hierarchy between the raw media and full semantic understanding of the media's content. The second section discusses real users' queries with respect to the semantic gap. The final sections of the paper describe our own experience in attempting to bridge the semantic gap. In particular we discuss our work on auto-annotation and semantic-space models of image retrieval in order to bridge the gap from the bottom up, and the use of ontologies, which capture more semantics than keyword object labels alone, as a technique for bridging the gap from the top down

Sezai Karakoç’un şiirlerinde geleneğin tezahür odakları olarak insan, zaman ve mekân

Bu çalışmada öncelikli olarak, gerek edebî kimliğiyle gerek fikrî ve aksiyoner kişiliğiyle Türkiye’nin geçirmiş olduğu dönüşümde önemli bir yeri olan Sezai Karakoç’un gelenek anlayışı tespit edilmeye çalışılmış ve bundan hareketle Karakoç’un, şiirinde insan, zaman ve mekân kavramlarını algılayış biçimleri üzerinde durulmuştur. İslâmî dünya görüşü çerçevesinde bir gelenek tasavvur eden Karakoç’un, insan, zaman ve mekânı modern şiirin imkânları içinde nasıl algıladığı tespit edilmeye çalışılmıştır. Çalışmada, Karakoç’un geleneği, şiirin formel yanının çok ötesinde, Erwin Panofsky’nin ikonoloji olarak adlandırdığı ve bir sanat eserinin arka planında yer alan bütün bir dünya görüşü ve evren tasavvuruna göre şekillenmiş, dinî özü baskın bir düşünce yapısı anlamında kullandığı belirlenmiştir. Karakoç, modernitenin “Tanrı-doğa-insan” üçlüsünde Tanrı’nın çıkarıldığı ve ilahi ilkelerden bağımsız işleyen bu mekanik doğa ve insan algısının insanlığı gelenekten kopardığını ve büyük felaketlere götürdüğünü ileri sürerek eleştirir. Bunun yerine insanın ve doğanın, dinin özü anlamına gelen metafiziğin hayata yeniden hâkim kılınması gerektiğini ve buna göre “diriliş” insanı adını verdiği bir insan modeli teklif eder. Zaman konusunda da, geçmişi önemsemeyen, sürekli bugünü öne çıkaran ve geleceği referans gösteren modernitenin ilerlemeci, lineer zamanı yerine bütün geleneksel toplumlarda ortak olan ve teodise ve ilahi adalet sorunlarını çözen döngüsel zaman anlayışının benimsendiği görülmüştür. Karakoç, bir bozuluş ve çöküş olarak gördüğü modern zamanın, İslam’ın dirilişi ile son döngüselliğini yaşayacağı düşüncesindedir. Karakoç’un şiirinde mekânın, gelenek ve uygarlık kavramlarıyla bağlantılı olarak geniş anlamda İslam uygarlığının hayat bulduğu bütün bir coğrafya, dar anlamda ise bu uygarlığın görünen yüzleri olan İslam şehirleri şeklinde algılandığı ve yansıtıldığı görülmüştür. Bu çalışmada, Karakoç’un İlahi hakikatlerin yansıması olarak gördüğü geleneğin yeniden canlandırılmasının aktörü, alanı ve süreci olarak insanı, zamanı ve mekânı gördüğü sonucuna varılmıştır.In this work, first of all, both literary, intellectual and activist identity of Sezai Karakoç who has important place in Türkey’s transition, and Karakoç’s view of tradition and from this point, how he percieves the concepts of man, time and place in his poems have been taken into account. Also it has been tried to determine how Karakoç, who conceived a tradition within the framework of the Islamic worldview, percieves man, time and place within the possibilities of modern poetry. In the study, Karakoç uses the term “Tradition”, far beyond the formal side of poetry, as the structure of thought in which religious is dominant, has been shaped by the conception of the universe and the whole worldview behinde the artwork which Erwin Panofsky calls iconography. Karakoç criticizes that modernity, by canceling out God from the trinity of "God-nature-man", operates independently of the divine principles and seperates humanity from tradition and leading to the destruction of humanity by exposing perceotions of mechanical nature and man. Instead, he proposes a human model, named man of “resurrection”, in which the metaphysical meaning of man and nature, the essence of religion, must be re-judged. Regarding time, against the modernity, which does not care about the past and always emphasizes the present and refers to the futuristic devlopmental lineer time, he advocates theodicy and divine justice problems which are common to all traditional societies. Karakoç thinks that modern time, which is seen as a deterioration and collapse by him, will experience the last cycle with the resurrection of Islam. Place, in the poem of Karakoç, has been seen that the whole geography where Islamic civilization lives in the broad sense in connection with the concepts of tradition and civilization, and in the narrow sense it is perceived and reflected as Islamic cities which are the visible faces of this civilization. In this work, it has been concluded that Karakoç sees man, time and place as the reflection of divine truths and actor, field and process of the revival of the tradition

Bridging the Semantic Gap in Multimedia Information Retrieval: Top-down and Bottom-up approaches

Semantic representation of multimedia information is vital for enabling the kind of multimedia search capabilities that professional searchers require. Manual annotation is often not possible because of the shear scale of the multimedia information that needs indexing. This paper explores the ways in which we are using both top-down, ontologically driven approaches and bottom-up, automatic-annotation approaches to provide retrieval facilities to users. We also discuss many of the current techniques that we are investigating to combine these top-down and bottom-up approaches

In Karakoç’s Poetry, Meaning and Use of the Concept of God in Terms of Islamic Sufism Epistemology

Bu çalışmada modern Türk şiirinde metafizik duyuşu önemli ölçüde şiirinde yansıtmaya çalışan Sezai Karakoç’un, Tanrı kavramının algılanma biçimi üzerinde durulmuştur. Modernite sürecinde hayatın kıyısına itilen Tanrı’nın, Karakoç’un şiirinde tekrar merkezi bir konuma yerleştirilmeye çalışıldığı ve insanın, eşyanın, doğanın Tanrı’nın merkezde olduğu geleneksel anlayışa göre yeniden konumlandırıldığı görülmüştür. Şiirlerde Tanrı anlayışının, daha çok tasavvufun varlık tasavvuru doğrultusunda düşünüldüğü tespit edilmiştir. Varlığın, “mutlak varlık” ve “izafi varlık” olarak ikiye ayrıldığı tasavvufun epistemolojisinin Karakoç’un pek çok şiirinde benzer şekilde kabul edildiği görülmüştür. Çalışmada temel kaynak olarak Karakoç’un Gün Doğmadan adlı toplu şiirleri esas alınmış, kısmen de düşünce yazılarından yararlanılmıştır.In this work, the conceptualisation of God in Sezai Karakoç, who, in his poem, tries to reflect the metaphysical feeling significantly in modern Turkish poetry is going to be discussed. It has been seen that God, who was pushed to the shore of life in the modernity process, has been attempted to place in a central position again in Karakoç poetry. It has been seen that human being, matter and nature have been repositioned according to the traditional understanding that God is at the center. In poems, it has been found that the concept of God is considered more like the God in understanding of Being in Tasavvuf. It is seen that the epistemology of Tasavvuf, in which the entity is divided into two as “absolute being” and “relative being”, is accepted in many poems of Karakoç in a similar way. As a basic source in the study, Karakoç’s collective poems called Gün Doğmadan were taken as basis and partly as a result of thought writings

The PAIR Program : enhancing the parent and infant bond through infant occupation : a program development plan/ Abby L. Enser

Capstone project (O.T.D.)

The Concepts of Violence, “Banality of Evil” and “Bystander Effect” in Hasan Ali Toptaş’s Novel Beni Kör Kuyularda

Hannah Arendt’e göre 20. yüzyılın en önemli kavramlarından biri olan şiddet, özellikle araçsal özelliğiyle totaliter rejimlerin, toplumu tasarımlamak için en sık başvurduğu yöntemlerden biri olmuştur. Toplumun sıradan fertlerinin şiddet uygulayıcıları haline gelmeleri ve yaptıkları eylemler hakkında hiçbir fikre sahip olmamalarını ise Arendt, “kötülüğün sıradanlığı” olarak tarif etmiştir. Şiddet sadece totaliter hareketler bağlamında değil, günümüz insan ilişkilerinde de sıkça başvurulan bir araç haline gelmiştir. Bu çalışmada Hasan Ali Toptaş’ın Beni Kör Kuyularda romanı şiddet ve kötülüğün sıradanlığı açısından ele alınacak ve romanda şiddet ve kötülüğün sıradanlığı ile köyden kente göç edince geleneksel insan ilişkilerini terk eden fakat gerekli düşünselliğe sahip olmadığı için sorunlu bir bireysellik geliştiren, kentlileşmeye çalışan bu yeni insan tipi arasındaki ilgi incelenecektir.According to Hannah Arendt, one of the most important concepts of the 20th century is violence, which with its instrumental feature, has been among the most used methods by the totalitarian regimes in designing society. In her thesis “The banality of Evil”, Arendt describes the ordinary members of the society as violent practitioners who have no idea what they do. Violence is not only about totalitarian movements, but it is also a tool frequently used in human relations today. Based on the novel, this research examines the violence and “The banality of Evil” relationship, in regards to the “new type of people” who migrate from the village to the city, trying to urbanise themselves, by abandoning traditional human relationships, but instead, develop a problematic individuality because they do not have the necessary mentality for it