Grammatical gender is independent of biological sex for the majority of animal names (e.g., any giraffe, be it male or female, is grammatically treated as feminine). However, there is apparent semantic motivation for grammatical gender classes, especially in mapping human terms to gender. This research investigated whether this motivation affects deductive inference in native German speakers. We compared German with Japanese speakers (a language without grammatical gender) when making inferences about sex-specific biological properties. We found that German speakers tended to (...) erroneously draw inferences when the sex in the premise and grammatical gender of the target animal agreed. An over-generalization of the grammar–semantics mapping was found even when the sex of the target was explicitly indicated. However, these effects occurred only when gender-marking articles accompanied the nouns. These results suggest that German speakers project sex-specific biological properties onto gender-marking articles but not onto conceptual representations of animals per se. (shrink)

1-2. Sōkō -- 3. Katō Hiroyuki kōen zenshū ; Shizen to rinri ; Kokka no tōchiken ; Sekininron ; Jinsei no shizen to waga kuni no zento.

Recently Lafont [6] showed the finite model property for the multiplicative additive fragment of linear logic and for affine logic, i.e., linear logic with weakening. In this paper, we shall prove the finite model property for intuitionistic versions of those, i.e. intuitionistic MALL, and intuitionistic LLW. In addition, we shall show the finite model property for contractive linear logic, i.e., linear logic with contraction, and for its intuitionistic version. The finite model property for related substructural logics also follow by our (...) method. In particular, we shall show that the property holds for all of FL and GL$^-$-systems except FL$_c$ and GL$^-_c$ of Ono [11], that will settle the open problems stated in Ono [12]. (shrink)

Previous research found that application of eyeshadow on the upper eyelids induces overestimation of eye size. The present study examined whether this eyeshadow illusion is dependent on or independent of viewpoint. We created a three-dimensional model of a female face and manipulated the presence/absence of eyeshadow and face orientation around the axis of yaw (Experiment 1) or pitch (Experiment 2) rotation. Using the staircase method, we measured perceived eye size for each face stimulus. Results showed that the eyeshadow illusion occurred (...) regardless of face orientation around axes of both yaw and pitch rotations. Crucially, the illusion’s magnitude did not vary across face orientations; lack of interaction between the illusion’s magnitude and face orientation was confirmed by small values of Bayes factors. These findings ruled out the hypothesis that eyeshadow serves as a depth cue and leads to overestimation of eye size due to size-distance scaling. Alternatively, the present findings suggest that the eyeshadow illusion can be well explained by the assimilation between the eyes and eyeshadow, which also facilitates assimilation between the eyes and eyebrows. Practical implications and the present findings’ generalizability are also discussed. (shrink)

This article constructs a static model of information acquisition when the agent does not know exactly what pieces of information he is missing. A representation of preferences over information channels and menus of lotteries is shown by adapting the model of unforeseen contingencies by Dekel et al. (Econometrica 69:891–934, 2001; Econometrica 75:591–600, 2007), which is an extension of Kreps (Econometrica 47:565–576, 1979; Economic analysis of markets and games: essays in honor of Frank Hahn, 1992). Also, characterisation of informativeness of an (...) information channel analogous to the one by Blackwell (Ann Math Stud 24:265–272, 1953) is examined in conjunction with the preference for flexibility by applying the structure of Shapley value. (shrink)

日本朱子学、日本陽明学、徂徠学、幕末思想など、代表的な思想家たちの歴史観/政治観を軸に近世を俯瞰する著者の代表研究。.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of which (...) are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

簡潔性、実用性に卓越したQuineの『方法』を詳説、それに基づきG ̈odelやChurchの定理を含む、標準的な論理学を厳密に展開する。また、認識論理学の「自然演繹法」化の、1つの可能性を提案する。更に、「超実数」の必要性を強調し、それにより種々のアポリア(パラドッ クス等)の解明を試みる。.

We study the dynamics of a vortex in superfluid He4. This is carried out by deriving the effective Lagrangian for the center of the vortex by starting with the time-dependent Ginzburg-Landau formalism. From the resultant equation of motion for a vortex, we arrive at a novel aspect for the Magnus force which has long been known in fluid dynamics. This force has a geometric origin and is expected to occur in other form of condensates such as vortex excitations for quantum (...) Hall fluids or ferromagnets. We also consider the force of non geometric origin, the pinning force coming from the impurity. (shrink)

Reasoning with conditionals is often thought to be non-monotonic, but there is no incompatibility with classical logic, and no need to formalise inference itself as probabilistic. When the addition of a new premise leads to abandonment of a previously compelling conclusion reached by modus ponens, for example, this is generally because it is hard to think of a model in which the conditional and the new premise are true.

In this paper, we would present an overview of the recent studies on the role of diagram in mathematics. Traditionally, mathematicians and philosophers had thought that diagram should not be used in mathematical proofs, because relying on diagram would cause to various types of fallacies. But recently, some logicians and philosophers try to show that diagram has a legitimate place in proving mathematical theorems. We would review such trends of studies and provide some perspective from viewpoint of philosophy of mathematics.

This collection of classic works from the mid-nineteenth through mid-twentieth centuries was originally published under the auspices of the Royal Asiastic Society. Spanning over 100 years in oriental scholarship, primary texts include work by Frederic Rosen, W.F. Thompson, C. Edward Sachau, R.A. Nicholson, W.H.T. Gairdner, W.M. Miller, James Robson, and many others.

エンジニアの「知」は21世紀を拓けるか。モノを「つくる」とは、どういうことか。技術者の心に由来する「知」のありように迫る。技術における「知」の現代性を確認する。.