Scholarly Publications - Graphic Design
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Item Open Access Practices of knowledge exchange in the context of the COVID-19 Pandemic(Springer, 2023-11-20) Peschke, Lutz; Gyftopoulos, S.; Kapusuzoğlu, A.; Folkvord, F.; Gümüş Ağca, Yasemin; Kaldoudi, E.; Drosatos, G.; Ceylan, N. B.; Pecchia, L.; Güneş Peschke, S.This paper contributes to a better understanding of a system of pandemic knowledge exchanges. Therefore, three different case studies conducted in Germany, Greece, and Turkiye and executed in multiple countries were analyzed in the context of Mode 3 knowledge production and the Quintuple Helix system. While the Quintuple Helix system describes the knowledge exchange processes between the systems of science, economy, politics, public, and natural environment of societies for sustainable innovation processes, Mode 3 emphasizes the importance of a creative environment for research and innovation. The COVID-19 pandemic revealed that the need for knowledge exchange with the media-based public increased dramatically. In both models, Mode 3 and the Quintuple Helix but also in the Design Thinking approach, the creative environment incorporates the knowledge of the media-based public. Nonetheless, the reality of the public is constructed as media reality. Therefore, a mix of evidence-based and opinion-based knowledge is produced and transferred during knowledge exchange in the context of innovation processes including public engagement. It could be understood that the mediating entities media and general practitioners have a similar double function in the context of knowledge exchange with the public during the pandemic times. The results reveal the big need for knowledge communication and exchange platforms which on the one hand strengthen citizen participation by transforming opinion-based into evidence-based content. On the other hand, reach the status of a global standard medium for the pandemic knowledge exchange accepted by all stakeholders of the Quintuple Helix. This generates a shared-knowledge environment with a gain for all systems of the Quintuple Helix during the sustainable innovation processes. © 2023, The Author(s).Item Open Access Typologies in photography(ODTÜ Mimarlık Fakültesi, 1994) İncirlioğlu, C. GüvenCertain trends in recent photographic art, their relation to the idea of typology and to architecture motivated the writing of this essay. Physiognomy, as the content of portrait photography and as an analogy for the nature of photographic images of any kind, is relevant to the issue of typology. The curatorial profession in the world of art aspires for interpreting, grouping and physically exhibiting a number of artworks by one or more artists, mostly around a theme or a relevant problematic, an issue. One such exhibition that I will refer here, which traveled the United states in 1991 and 1992, is called “Typologies: Nine Contemporary Photographers”, and was curated by Marc Freidus. Among the 'nine', more than half were German who made series of photographs of “types” (of buildings, interiors, people, streets, landscapes, etc.). Within this group are Bernd and Hilla Becher, a husband and wife team, of great significance for this essay.Item Open Access The CSR agenda of a family holding in oil extraction and mining: an analysis of Turkey’s Pet Holding(Gazi Üniversitesi İletişim Fakültesi, 2017) Atakan-Duman, Ş.; Özdora-Akşak, EmelThis case study focuses on the identity construction process and corporate social responsibility (CSR) efforts of Pet Holding, a Turkish family holding company working in petroleum and gas exploration and extraction as well as in mining, tourism and construction. This study aims to understand how companies determine context and content of their CSR initiatives, the role of CSR in organizational identity construction through qualitative semistructured interviews with the firm’s managers and a quantitative analysis of secondary data. The findings revealed that CSR contributes deeply to organizational identity construction and tends to be influenced by the founder’s personal history and values. The founder’s personality and priorities were found to be critical for any organization’s identity construction, but especially important for family holdings.Item Open Access Aromatik asit içeren bazı kristallerin molekül yapılarının X-ışınları kırınımı yöntemiyle incelenmesi ve kuantum mekaniksel hesaplamaları(Türkiye Kimya Derneği, 2015) Aslantaş, M.; Karayel, Arzu; Çelik, Ö.; Arslan, A.Aromatic-structured acids and their complexes are having with biological importance, in particular molecules which are used in the food industry due to enzymatic activity and antimicrobial properties. In this study, crystal structure analyses were performed by X-ray diffraction method, and biological analysis of synthesized aromatic-structured complex molecules determined. In order to support and compare of the experimental results for these complexes, the quantum mechanical Hartree-Fock (HF) and Density Functional Theory (DFT) methods were investigated by theoretical calculations. Many information at the atomic level for the complex molecules such as, conformations in the unit cell, energies, bond lengths and angles, molecular packing, intra- and inter-molecular hydrogen bonding interactions were presented.Item Open Access Powerless signs: hybridity and the logic of excess of Turkish trash(Hampton Press, 2003) Erdoğan, Nezih; Ross, K.; Derman, D.Item Open Access Turkey(Schirmer Reference, 2006) Mutlu, Dilek K.; Grant, B. K.Item Open Access Up against the wall of the signifier: gegen die wand?(Cambridge Scholar Press, 2008) Mutman, Mahmut; Christensen, M.; Erdoğan, NezihItem Open Access Das Neue Turkishe kino(Babel Verlag, 1994) Erdoğan, Nezih; Şenocak, Z.Item Open Access Das Fernsehen in der Turkei(Babel Verlag, 1994) Erdoğan, Nezih; Şenocak, Z.Item Open Access Turkish film(Routledge, 2001) Erdoğan, Nezih; Göktürk, D.; Leaman, O.Cinema, as a Western form of visual expression and entertainment, did not encounter resistance in Turkey, a country culturally and geographically bridging East and West. It perfectly represented the ambivalent attitudes of the national / cultural identity under construction. On one hand, cinema came as a sign of modernization / Westernization, not only for the images of the West being projected onto the screen, but also for the conditions of its reception. Cinematography was a technological innovation imported from the West and the ritual of going to the movies became an important part of the modern urban experience. On the other hand, cinema offered possibilities for the production of a ‘national discourse’. Many of the early feature films reflect the ‘birth of a nation’ or resistance to the Allied Forces during World War I. The audience was already familiar with the apparatus (theatre, screen, figures, music and sound, light and shadow), which bore some resemblance to the traditional Turkish shadowplay Karagöz, one of the most popular entertainment forms of the past.Item Open Access The making of our America: Hollywood in a Turkish context(BFI, 1999) Erdoğan, Nezih; Maltby, R.; Stokes, M.This chapter examines the ways in which American cinema was represented in Turkey in the 1940s and the evidence for the existence of a growing connection between American cinema and the popular Turkish imagination during this period. It is based on an analysis of the popular film magazines of the time, as well as the memoirs and observations of writers interested in cinema. Issues of audience demand, of course, pose questions about the cultural identities involved in the experiences of identification and fantasy enjoyed by the film viewer. After describing the historical context in which American cinematic hegemony was established, the chapter will consider some of the ways in which Hollywood itself functioned as a kind of fantasy screen for the Turkish viewer. It will also touch upon European cinema since – as becomes particularly clear in the memoirs of film historian Giovanni Scognamillo-the tension between America and Europe, and thus between Hollywood and European cinema, is crucial to the mental machinery at work in the viewers’ cinematic experience in its broadest sense.Item Open Access Whatever image(The Johns Hopkins University Press, 2003) Aracagök, Z.This essay can be seen as an attempt to foreground a new approach to representation with an outcome of a new concept, “whatever image.” This is undertaken by going through Benjamin’s handling of image via Leibniz in the prologoue of “German Tragic Drama” where he problematizes epistomolgy’s claim to truth by introducing his idea of constellations and thus opens up the question of a rigid, bounded image of the world to an immanence; Adorno’s theories in “Negative Dialectics”, concerning the image as the third term, as a screen, between subject and object, by way of which he introduces the question of “the resurrection of flesh” as far as the perception of the world in the form of images is concerned; and Giorgio Agamben’s concept of “whatever” in “The Coming Community” by means of which I attempt to introduce a “whateverness” to the concept of image which aims to open the question of image to “experience through flesh.”Item Open Access On rhythm, resonance, and distortion(University of Warwick, 2003) Aracagök, Z.Item Open Access Narratives of resistance: national identity and ambivalence in the Turkish melodrama between 1965 and 1975(Oxford University Press, 1998-10-01) Erdoğan, N.Item Open Access Decalcomania, mapping and mimesis(University of Nebraska Press, 2005) Aracagök, Z.Item Open Access The Russian monument at Ayastefanos (San Stefano): between defeat and revenge, remembering and forgetting(Routledge, 2007-01) K. Mutlu, D.Item Open Access On some umbrellas(Routledge, 2008-09) Aracagök, Z.Before I introduce the subject of this article, I should confess that its subject is the subject itself. The question of the subject always brings along a question of location and, therefore, a question of topology. Consequently, what we have here as a subject is a subject which does not conform to the rules of being a subject and hence this subject‐non‐subject demands an approach where topology and atopology should be put in a complementary relationship rather than an oppositional one. Without cutting the long word short, or without putting our subject under protection, or without opening what cannot be opened, we can at least say that our subject here is an umbrella, an umbrella which, being the subject of three different persons, can be seen, though only at the beginning, as the subject of that which incessantly echoes the question of localisability.Item Open Access Spectacle, speculative, spectile: situations in Sarah Kane, Sevim Burak, etc(Routledge, 2010-07) Aracagök, Z.; Yalim, P. B.Reconsidering the Situationist texts, mainly Guy Debord’s Society of the Spectacle, this article attempts to produce distinctions between the spectacle, the speculative and the ‘spectile’ via a reading of Deleuzian insistence that immanence should be created. Zigzagging between the texts of Sarah Kane and Sevim Burak, we suggest the urgency of ‘the spectile’ within the Deleuzian concept of ‘becoming‐woman’ if an immanence, including both arts and art criticism, is not to yield to a transcending transcendental; if criticism is to produce an immanence that is only immanent to itself.Item Open Access Between tradition and modernity: Yeşilçam melodrama, its stars, and their audiences(Routledge, 2010-08) K. Mutlu, D.Melodrama, the most popular genre of Yeşilçam cinema (1960s Turkish popular cinema), provides a useful source for unravelling the social contradictions and anxieties caused by the Turkish modernization/westernization process, in that the films both construct modernity as a desired state and criticize it as cosmetic westernization. Against this background, this article considers the images of Yeşilçam stars both as agents of the ambivalent discourse on modernity in films and as embodiments of truly modern/western lifestyles outside cinema. The article explores the social reception of the stars' off-screen images, based on letters published in two popular cinema magazines of the period. It is observed that rather than fully identifying with the stars' off-screen images and trying to escape to the ‘modern' attractive world of the stars, many audience members attempted to bring stars to their own world and back into the traditionalistic and moralistic universe of melodrama. The article interprets these attempts as ‘creative adaptations' through which audiences meet, negotiate, and appropriate modernity, of which the cinema and stars are part, in their own fashion.Item Open Access Beware of the Wolves! the Turkish versus the European reception of Valley of the Wolves (2006)(Intellect, 2011-06) Smets, K.; K. Mutlu, D.; Winkel, R. V.