dai 1-kan. Ningen, kyōiku ga umarekawaru tame -- dai 2-kan. Ningen to no deai, kyōiku to no deai -- dai 3 kan. Ningenrashiku naru tedate -- dai 4-kan. Jinrui no kibō, osanago -- dai 5-kan. Shishū, ushinawareta kisetsu o motomete -- dai 6-kan. Aru mazushiki shōgai no kiroku -- [7] Kyōiku to kyōikugaku.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

『日本唯物論史』などで知られるわが国の唯物論哲学の開拓者・永田廣志の生涯をまとめ、その理論活動の意義を解明。哲学研究者と在野の郷土史家との共同研究が生み出した成果。本邦初公開の貴重な資料や秘蔵写真も多 数紹介。.

Minami–Sakai :883–898, 2016) investigated the cofinal types of the Katětov and the Katětov–Blass orders on the family of all \ ideals. In this paper we discuss these orders on analytic P-ideals and Borel ideals. We prove the following:The family of all analytic P-ideals has the largest element with respect to the Katětov and the Katětov–Blass orders.The family of all Borel ideals is countably upward directed with respect to the Katětov and the Katětov–Blass orders. In the course of the proof of (...) the latter result, we also prove that for any analytic ideal \ there is a Borel ideal \ with \. (shrink)

We investigate how weak square principles are denied by Chang’s Conjecture and its generalizations. Among other things we prove that Chang’s Conjecture does not imply the failure of \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\square_{\omega_1, 2}}$$\end{document}, i.e. Chang’s Conjecture is consistent with \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\square_{\omega_1, 2}}$$\end{document}.

This paper presents a new method that improves robustness of real-coded Genetic Algorithm (GA) for function optimization. It is reported that most of crossover operators for real-coded GA have sampling bias, which prevents to find the optimum when it is near the boundary of search space. They like to search the center of search space much more than the other. Therefore, they will not work on functions that have their optima near the boundary of the search space. Although several methods (...) have been proposed to relax this sampling bias, they could not cancel whole bias. In this paper, we propose a new method, Toroidal Search Space Conversion (TSC), to remove this sampling bias. TSC converts bounded search space into toroidal one without any parameter. Experimental results show that a GA with TSC has higher performance to find the optimum near the boundary of search space and the GA has more robustness concerning the relative position of the optimum. (shrink)

A proof is given for the theorem that at least one bound state exists in a one-dimensional attractive potential however weak it may be. The proof is constructive in that it provides a method to explicitly solve the eigenvalue problem for the eigenvalues as well as the eigenfunctions. The method is well suited to precise numerical calculations.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Byrne & Russon suggest that there are two kinds of imitation learning – action level and program level – and that the latter is critical for great apes' learning. I have interpreted this phenomenon from the standpoint of clinical neuropsychology and conjecture that action-level imitation might be related to parietal lobe function and program-level imitation might be related to frontal lobe function.

Although certainty is a fundamental notion in epistemology, it is less studied in contemporary analytic epistemology than other important notions such as knowledge or justification. This paper focuses on Wittgensteinian certainty, according to which the very basic dimension of our epistemic practices, the elements of our world-pictures, are objectively certain, in that we cannot legitimately doubt them. The aim of the paper is to offer the best philosophical way to clarify Wittgensteinian certainty, in a way that is consonant with Wittgenstein's (...) fundamental insights. The paper critiques two alternative proposals for clarifying Wittgensteinian certainty that are philosophically unsatisfying: the rule view and the proposition view. Finally, it instead shows how viewing world-pictures as pictures, in the sense of unclear conceptions, is a more philosophically fruitful approach to understanding world-pictures. (shrink)

It is important to manage individuals’ personal data after their death to maintain their dignity or follow their wishes as much as possible. From this perspective, this report describes the real-world commercialization of immortal digital personalities, which gives eternal life to the deceased in a digital form. We identify the problems with the commercialization of deceased users’ images and personal data, which becomes postmortem entertainment. Considering these problems, we seek out the ideal form of deceased users’ personal data for commercialization. (...) We conduct a social survey to understand how ordinary Japanese people feel about the various types of publicly available services that use personal data after death, such as social network service logs. By analyzing our survey results approximately 20% of respondents would allow the commercial use of their personal data, such as browsing their social network service logs, if they could receive compensation during their lifetime. (shrink)

In the scholarship on Wittgenstein’s later philosophy of mathematics, the dominant interpretation is a theoretical one that ascribes to Wittgenstein some type of ‘ism’ such as radical verificationism or anti-realism. Essentially, he is supposed to provide a positive account of our mathematical practice based on some basic assertions. However, I claim that he should not be read in terms of any ‘ism’ but instead should be read as examining philosophical pictures in the sense of unclear conceptions. The contrast here is (...) that basic assertions that frame philosophical ‘isms’ are propositional such that they are subject to normal argumentative evaluation, while pictures in Wittgenstein’s sense are non-propositional—they lack a clear truth condition. They, therefore, need clarification rather than argumentation. In this paper, I provide a detailed analysis of Wittgenstein’s treatment of philosophical pictures with special focus on his argument on contradiction. I begin by explaining the problem with this trend of theoretical interpretation, taking Steve Gerrard’s otherwise excellent interpretation as a representative example and pointing out why it is problematic. Next, I will argue that those problems do not arise if we take Wittgenstein’s task as the clarification of philosophical pictures. I do this, first, by explaining Wittgenstein’s method using his argument concerning the Augustinian Picture in Philosophical Investigations and then pointing out that the same method can be identified in the crucial arguments in his philosophy of mathematics. Finally, in order to connect my interpretation with the current scholarship, I will explain the relation of my interpretation with those of New Wittgensteinian scholars. (shrink)

We study the relationship between the semistationary reflection principle and stationary reflection principles. We show that for all regular cardinals Λ ≥ ω₂ the semistationary reflection principle in the space [Λ](1) implies that every stationary subset of $E_{\omega}^{\lambda}\coloneq \{\alpha \in \lambda \,|\,{\rm cf}(\alpha)=\omega \}$ reflects. We also show that for all cardinals Λ ≥ ω₃ the semistationary reflection principle in [Λ](1) does not imply the stationary reflection principle in [Λ](1).

L’exposition d’art dans des paysages est devenu populaire au Japon, avec la multiplication récente de festivals d’art locaux. Dans ces festivals, qui attirent chacun des centaines de milliers de visiteurs, coexistent des œuvres hétérogènes. Certaines sont des sculptures autonomes, d’autres des installations qui se fondent dans le paysage, et d’autres encore sont des œuvres de type « art relationnel ». Bien que ces œuvres in situ affirment leur lien essentiel avec le site naturel rural et avec le corps du spectateur (...) — constituant un événement, une expérience, une rencontre éphémère —, les relations avec le site comme avec le visiteur sont complexes et ambigües. Il y a des œuvres in situ, mais parfois aussi in aliquo situ : des œuvres qui peuvent être installées n’importe où. Qu’est-ce qui attire les visiteurs dans ces expositions? Quels sont donc la nature et le mérite de leur localisation? Si les visiteurs apprécient de voir des œuvres dans ces paysages cela peut être en partie lié au principe japonais traditionnel d’expérience des lieux dit meisho-meguri, ou « pèlerinage vers des sites célèbres ». Cette pratique issue du Moyen Âge est associée historiquement au sacré. Aujourd’hui ce pèlerinage prend la forme du tourisme moderne mais conserve un sens traditionnel invisible car les visiteurs se déplacent à travers une série de lieux géographiques selon un jeu culturellement codé. Selon nous, dans le cas des visites d’œuvres d’art en zones rurales, l’appréciation des œuvres d’art participe à ce même jeu traditionnel de se déplacer physiquement dans une série de lieux. Cette dimension spirituelle implicite modifie à son tour la perception des œuvres. Ainsi on dira que la pratique japonaise de visiter ces expositions d’art in situ témoigne de la survivance d’une tradition, et constitue ainsi un système alternatif d’expérience esthétique. The installations of artwork in natural landscapes have become popular in Japan with the recent increase in local art festivals. In these art festivals where hundreds of thousands of visitors gather, heterogeneous installations coexist; some are autonomous sculptures, some are fused into the natural landscape, and some belong to “relational art”. Although most works assert the essential quality of their location, and the experience as “an event”, their relationships to the rural areas and to the body of the visitor are complex and ambiguous. Some works are really in situ, but some are in aliquo situ—that is, works that could be installed anywhere. What attracts visitors to these exhibitions? Hence what is the nature and merit of the location? What is the relation to the visitor’s bodily presence? If visitors enjoy the site-specificity of the artwork this may be linked to the traditional Japanese system of experiencing places as meisho-meguri—i.e. “a pilgrimage to a series of famous sites”. This practice comes from the Middle Ages and was by then spiritual. While today these pilgrimages appear as a form of modern tourism, they retain a culturally coded character because visitors’s journey is like “a game of visiting a series of geographical places”. According to me, in the case of the visit of artistic sites, the appreciation of the artwork participates in this same game of bodily displacement to a series of places. This implicit spiritual underpinning conversely modifies the visitor’s perception of the works. Thus I propose that visiting artistic sites in natural settings in Japan appears as informed by this Japanese particular tradition, and thus constitutes an alternative system of contemporary aesthetic experience. (shrink)

It is a mistake to think that any philosophical contribution to the study of psychopathology is otiose. I identify three non-exhaustive roles that philosophy can and does occupy in the study of mental disorder, which I call the agenda-setting role, the synthetic role, and the regulative role. The three roles are illustrated via consideration of the importance of Jaspers' notion of understanding and its application to specific examples of mental disorder, including delusions of reference, Capgras delusion and other monothematic delusions, (...) and clinical depression. Together the three roles assign to philosophy of psychopathology the task of determining how to situate the varieties of mental disorder within the system of interpretive and evaluative concepts that partially make up the dynamic but indispensable manifest image. (shrink)

The genesis for this volume was in the bombing of Japan during World War II, where the author, as a young boy, watched the bombers overhead, speculating about the lives of the pilots and their relationship with those huddled on the ground._ From this disturbing diorama, Professor Hiroshi Kojima, the translator of Martin Buber into Japanese, unfolds a new approach to Buber's “I-Thou” relation, drawing upon insights from Husserl, Heidegger, and others in the tradition of continental philosophy to extend (...) and deepen Buber's thought. In chapters that reflect upon a wide range of phenomena—from religion, science, and technology, to imagination, embodiment, and power—Professor Kojima articulates a conception of what it means to be a human being that stands as an alternative to atomism and alienation of the modern world. Analyses of haiku and other aspects of Japanese culture demonstrate how Kojima's theory can illuminate the spiritual traditions of both East and West. Original in its thought and revealing in its insight into Japanese thought and culture, _Monad and Thou__ represents the life's work of one of Japan's great thinkers. (shrink)

Why do we, today’s people, owe a duty to future generations with whom we will not overlap? In my paper, I aim at answering this question step by step. The first step is to respond to the question why human beings should continue to exist. I try this by critically considering Karl-Otto Apel’s argument for the survival of human beings from the viewpoint of his own discourse ethics. This consideration, however, leads us to the second step where we are faced (...) with the following question : For what reason do we – this particular generation and no other – owe a duty to future people? In order to answer this, I will interpret John Locke’s Two Treatises of Government and Book of Rites, a Chinese classic of Confucianism. From this interpretation, I would like to conclude that we are responsible for future people as far as we are responsible to past generations who delegated such future-oriented responsibility to us. (shrink)

It has been reported as a robust effect that people are likely to select a matching case in the Wason selection task. For example, they usually select the 5 case, in the Wason selection task with the conditional "if an E, then a not-5". This was explained by the matching bias account that people are likely to regard a matching case as relevant to the truth of the conditional (Evans, 1998). However, because a positive concept usually constructs a smaller set (...) than its negative one does (a rarity assumption), it is more effective to get information on the truth of the conditional in a positive set than in a negative set. Thus the optimal data selection account can also explain the effect. The set size of Q and matching by introducing negation were manipulated independently in four experiments. From the results it was inferred that the so-called matching bias was an amalgam of two different cognitive components-relevance judgement by matching and optimal data selection. (shrink)

Using simple stochastic models, we discuss how cooperative breeders, especially wasps and bees, can improve their productivity by reducing foraging work. In a harsh environment, where foraging is the main cause of mortality, such breeders achieve greater productivity by reducing their foraging effort below full capacity, and they may thrive by adopting cooperative breeding. This could prevent the population extinction of cooperative breeders under conditions where a population of lone breeders cannot be maintained.

Adam Smith is considered the founding father of economics. Yet to form an accurate picture of the theoretical basis of his work, it is necessary to know what influenced him. This book is the most up-to-date and comprehensive guide to all the books which were in Adam Smith's library at the time of his death. An invaluable reference work, this book will be of enormous interest to all those interested in the genesis of early economic thought.

It is known that there is a close relation between Prikry forcing and the iteration of ultrapowers: If U is a normal ultrafilter on a measurable cardinal κ and 〈Mn, jm,n | m ≤ n ≤ ω〉 is the iteration of ultrapowers of V by U, then the sequence of critical points 〈j0,n | n ∈ ω〉 is a Prikry generic sequence over Mω. In this paper we generalize this for normal precipitous filters.

I examine the tension between biopolitics and necropolitics through three themes that I have perceived and that are related to my life in Japan. First, I examine the transformation of hospitals and medical care, particularly for the elderly, through my experience of sharing the end of my mother’s life. Modern medicine has made great achievements in treating diseases that used to be fatal, but it has become institutionalized in the context of Big Pharma interests, with no insight into the natural (...) ageing and death of human beings. Second, I discuss how the ecological worldview on parasitism and symbiosis has been distorted by industrial logic, drawing on the work of my esteemed friend and parasitologist Professor Koichiro Fujita, who passed away in 2021. Finally, with regard to the Covid-19 pandemic, I would argue that it is not a sudden phenomenon triggered by a new virus, but in a sense a disaster that has been prepared for decades and must be seen as a war using bioengineering and epidemiology as weapons, rather than tanks and bombs. (shrink)

We give simple proofs of the Singular Cardinal Hypothesis from the Weak Reflection Principle and the Fodor-type Reflection Principle which do not use better scales.

Insulin is synthesized in pancreatic B‐cells of islets of Langerhans. Understanding the mechanisms of action of B‐cytotoxins on pancreatic islets seems to be important for elucidating not only the causes of diabetes mellitus but also its prevention.

現代を生き抜くための武器としての哲学を、西野カナ、ミスチル、いきものがかり等Jポップの歌詞を題材に、気鋭の哲学者が説く。.