Fichtes Philosophie ist die Wissenschaftslehre vom Bild. Nun hat das Wort Bild viele und unterschiedliche Bedeutungen, zum Beispiel Zeichnung, Ansicht, Vorstellung, Ausdruck und so weiter. Die ihnen zugrunde liegende Tätigkeit, das Bilden, besagt, dass »einer Sache Gestalt gegeben wird«.

Fichtes Philosophie ist die Wissenschaftslehre vom Bild. Nun hat das Wort Bild viele und unterschiedliche Bedeutungen, zum Beispiel Zeichnung, Ansicht, Vorstellung, Ausdruck und so weiter. Die ihnen zugrunde liegende Tätigkeit, das Bilden, besagt, dass »einer Sache Gestalt gegeben wird«.

「主体から主体を越えて主体の底」へ行こうとした西田哲学と共に、「悲哀の底」の「底なき底」においたとうとする論考。.

Inhalt: Vorwort. Rolf AHLERS: Fichte, Jacobi und Reinhold über Spekulation und LebenTeil I Prinzipen des transzendentalen IdealismusHeinz EIDAM: Die Identität von Ideal- und Realgrund im Begriff der Wirksamkeit. Fichtes Begründung des kritischen Idealismus und ihr Problemzusammenhang. Katsuaki OKADA: Fichte und Schelling. Robert MARZAŁEK: Das Poetische in der späten Wissenschaftslehre aus dem Blickpunkt von Schellings Philosophie der Mythologie. Hitoshi MINOBE: Die Stellung des Seins bei Fichte, Schelling und Nishida. Yoichi KUBO: Transformation der Deduktion der Kategorien. Fichte in Hegel. Gottlieb (...) FLORSCHÜTZ: Mystik und Aufklärung – Kant, Swedenborg und Fichte. Teil II Philosophie und LebenArkadij V. LUKJANOW: Die Beziehung zwischen Geist und System bei Fichte und Reinhold. Susanna KAHLEFELD: Standpunkt des Lebens und Standpunkt der Philosophie. Jacobis Brief an Fichte aus dem Jahr 1799. Hartmut TRAUB: J.G. Fichte, der König der Juden spekulativer Vernunft – Überlegungen zum spekulativen Anti-Judaismus. Claus DIERKSMEIER: Fichtes kritischer Schüler. Zur Fichtekritik K.C.F. Krauses. Matthias KOßLER: Phantasie und Einbildungskraft. Zur Rolle der Einbildungskraft bei Fichte und Solger. Elvira GAREEVA: Die Bedeutung der Populärphilosophie: J.G. Fichte und A. Schopenhauer. Zur DiskussionKlaus HAMMACHER: Hartmut Traub: J.G. Fichte, der König der Juden spekulativer Vernunft – Überlegungen zum spekulativen Anti-Judaismus.Rezensionen. (shrink)

Inhalt: TEIL I Dominik SCHMIDIG: Sprachliche Vermittlung philosophischer Einsichten nach Fichtes Frühphilosophie. Thomas Sören HOFFMANN: Die Grundlage der gesamten Wissenschaftslehre und das Problem der Sprache bei Fichte. Jere Paul SURBER: Fichtes Sprachphilosophie und der Begriff einer Wissenschaftslehre. Holger JERGIUS: Fichtes »geometrische« Semantik. TEIL II Günter MECKENSTOCK: Beobachtungen zur Methodik in Fichtes Grundlage der gesammten Wissenschaftslehre. Hartmut TRAUB: Wege zur Wahrheit. Zur Bedeutung von Fichtes wissenschaftlich- und populär-philosophischer Methode. Jürgen STAHL: System und Methode - Zur methodologischen Begründung transzendentalen Philosophierens in Fichtes (...) »Begriffsschrift«. Kunihiko NAGASAWA: Eine neue Möglichkeit der Philosophie nach der Grundlage der gesammten Wissenschaftslehre. Teil III Katsuaki OKADA: Der erste Grundsatz und die Bildlehre. Hisang RYUE: Die Differenz zwischen »Ich bin« und «Ich bin Ich«. Christian KLOTZ: Der Ichbegriff in Fichtes Erörterung der Substantialität. Alois K. SOLLER: Fichtes Lehre vom Anstoß. Nicht-Ich und Ding an sich in der Grundlage der gesamten Wissenschaftslehre. Eine kritische Erörterung. Heinz EIDAM: Fichtes Anstoß. Anmerkungen zu einem Begriff der Wissenschaftslehre von 1794. Virginia LÓPEZ-DOMÍNGUEZ: Die Deduktion des Gefühls in der Grundlage der gesammten Wissenschaftslehre. Reinhard LOOCK: Gefühl und Realität. Fichtes Auseinandersetzung mit Jacobi in der Grundlage der Wissenschaft des Praktischen. TEIL IV Marek SIEMEK: Wissen und Tun. Zur Handlungsweise der transzendentalen Subjektivität in der ersten Wissenschaftslehre Fichtes. Daniel BREAZEALE: Der fragwürdige »Primat der praktischen Vernunft« in Fichtes Grundlage der gesamten Wissenschaftslehre. Marcin POREBA: Das Problem der transzendentalen Freiheit in semantischer Formulierung. Giuseppe DUSO: Absolutheit und Widerspruch in der Grundlage der gesamten Wissenschaftslehre. Manuel JIMÉNEZ-REDONDO: Der Begriff des Grundes in Fichtes Wissenschaftslehre. TEIL V Helmut GIRNDT: Das »Ich« des ersten Grundsatzes der Grundlage der gesamten Wissenschaftslehre in der Sicht der Wissenschaftslehre von 18042. Josef BEELER-PORT: Zum Stellenwert der Grundlage aus der Sicht von 1804. Eine Interpretation des Wechsels von analytisch-synthetischer und genetischer Methode in 5 der Grundlage. (shrink)

Aus dem Inhalt: Heinz EIDAM: Die Identitat von Ideal- und Realgrund im Begriff der Wirksamkeit: Fichtes Begrundung des kritischen Idealismus und ihr Problemzusammenhang. - Katsuaki OKADA: Fichte und Schelling. - Robert MARZALEK: Das Poetische in der spaten Wissenschaftslehre aus dem Blickpunkt von Schellings Philosophie der Mythologie. - Hitoshi MINOBE: Die Stellung des Seins bei Fichte, Schelling und Nishida. - Yoichi KUBO: Transformation der Deduktion der Kategorien: Fichte in Hegel. - Arkadij V. LUKJANOW: Die Beziehung zwischen Geist und System (...) bei Fichte und Reinhold. - Susanna KAHLEFELD: Standpunkt des Lebens und Standpunkt der Philosophie: Jacobis Brief an Fichte aus dem Jahr 1799. - Hartmut TRAUB: J.G. Fichte, der Konig der Juden spekulativer Vernunft - Uberlegungen zum spekulativen Anti-Judaismus.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Tetsugaku Companion to Nishida Kitarō ed. by Matsumaru Hisao, Arisaka Yoko, and Lucy Christine SchultzFernando Wirtz (bio)Tetsugaku Companion to Nishida Kitarō. Edited by Matsumaru Hisao, Arisaka Yoko, and Lucy Christine Schultz. Cham, Switzerland: Springer, 2022. Pp. v + 240. Hardcover $109.99, isbn 978–3-319417-83-7.This collection of essays has several virtues. First, although Nishida is one of the most widely translated Japanese philosophers into English, this is the first collection (...) of interpretative essays that attempts to cover the different aspects and stages of his work in a comprehensive manner.Second, this collection gives voice to several Japanese scholars who have long been working on Nishida's philosophy, but who are nevertheless little known outside Japan. Of course, as the editors explain in the introduction, the book intentionally seeks to incorporate perspectives that may dislocate the reader given the "fact that academic authors in countries other than the English-speaking Anglo-American regions write differently to express their ideas" (p. vii). This is a significant gesture, since Japanese philosophy has from its very beginnings been wracked by the problem of translation and counter-translation. It is an act of courage for the book to acknowledge that there are different "forms of expression" that, even if they may confuse the Anglo-American reader, serve to broaden the reader's philosophical sensibility (p. xiii–xiv).Third, rather than each chapter limiting itself to expounding Nishida's thought in a general way, each in turn problematizes specific aspects of the philosopher's work, connecting it with other authors and problems.As the editors explain, the book has a bipartite structure. In the first part, several contributors explore "seven principal concepts" that are intended to reflect Nishida's perception of his own system, while in the second part, contributors investigate the place of Nishida's thought in the global history of philosophy, drawing connections between Nishida's thought and other fields such as religion, science, and art. In addition, the relevance of his thought to both the present and the future is discussed. The book includes an appendix with a chronology of Nishida's life and work and also a glossary of fundamental concepts.In Chapter 1, Nakajima Yuta explores the concept of "pure experience," highlighting its importance in Nishida's later philosophy and its relation to the self-developing structure of consciousness. In particular, Nakajima analyzes the influence of Wilhelm Wundt's Outlines of Psychology in the work An Inquiry into [End Page 1] the Good. In that sense, this article provides the historical context in which Nishida developed his ideas in contrast to the psychologist. As the author points out: "The main point of criticism is that Nishida regards the foundational elements in Wundtian psychology as mere virtual abstractions of the primordial systematic unity of experience" (p. 7). This last statement leads to the recognition that any linguistic limitation of this primordial unity becomes an abstraction, since pure experience is the framework of the meaningful, where all meanings are dynamically generated and superimposed (p. 10).Itabashi Yūjin, in Chapter 2, establishes the transition from pure experience to "absolute free will" in the work, Intuition and Reflection in Self-Awareness, by comparing Nishida's text with the philosophies of Cohen and Schopenhauer. To understand this transition, we must not lose sight, as the author says, that when the self reflects itself in itself, it is self-producing and self-determining. This self-determination is not purely intellectual, but a total activity in which "thinking and sensation are one" (p. 20). Thus, the will is absolute because there is nothing prior to the self-productive activity of the will. For this reason, it is precisely in religious experience that "authentic life" (p. 22) emerges from the negation of the subjective self, that is, from the fiction of a foundation of absolute will.The person responsible for presenting the concept of "self-awareness" is Okada Katsuaki. In Chapter 3, Okada takes as a starting point the "subjectless" (p. 28) character of the Japanese language in order to explain the paradoxical possibility of experience experiencing itself. (p. 30). The self-awareness of the activity of the previous chapters becomes... (shrink)

It is often argued that no local common cause models of EPR correlation exist. However, Szabó and Rédei pointed out that such arguments have the tacit assumption that plural correlations have the same common causes. Furthermore, Szabó showed that for EPR correlation a local common cause model in his sense exists. One of his requirements is that common cause events are statistically independent of apparatus settings on each side. However, as Szabó knows, to meet this requirement does not entail that (...) different combinations of common cause events (e.g. meet and join in lattice-theoretic terminology) are statistically independent of measurement settings. This further condition is formulated in two ways. First, the apparatus settings are completely independent of such combinations. Second, the apparatus settings on each side are independent of such combinations. Does a common cause model which meets the former and the latter respectively exist? This problem is considered. In particular, the latter version is Szabó’s and Rédei’s open problem. Negative answers are given to both versions. (shrink)

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)

We present some ideas on logical process descriptions, using relations from the DIO (Drug Interaction Ontology) as examples and explaining how these relations can be naturally decomposed in terms of more basic structured logical process descriptions using terms from linear logic. In our view, the process descriptions are able to clarify the usual relational descriptions of DIO. In particular, we discuss the use of logical process descriptions in proving linear logical theorems. Among the types of reasoning supported by DIO one (...) can distinguish both (1) basic reasoning about general structures in reality and (2) the domain-specific reasoning of experts. We here propose a clarification of this important distinction between (realist) reasoning on the basis of an ontology and rule-based inferences on the basis of an expert’s view. (shrink)

Some researchers argued that in the non-existence proof of hidden variables, the existence of a common common-cause of multiple correlations is tacitly assumed and that the assumption is unreasonably strong. According to their idea, it is sufficient if the separate common-cause of each correlation exists. However, for such an idea, various no-go results are already known. Recently, Higashi showed that there exists no local separate common-cause model for the correlations that appear in Hardy’s famous argument. In this paper, I give (...) another simple and suggestive proof of the same content. First, I will show that there exists no local common common-cause model of the correlations that appear in Hardy’s argument. Second, taking the proof as a hint, following almost the same steps, I will show the non-existence of a local separate common-cause model for those correlations. Finally, based on the argument in the previous sections, I will discuss what we can conclude about the issue of reducibility from a separate common-cause model to a common common-cause model. It will be concluded that it is “irreducible” at least by a usual method. (shrink)

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)

Recently Lafont [6] showed the finite model property for the multiplicative additive fragment of linear logic (MALL) and for affine logic (LLW), 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 (which we call IMALL), and intuitionistic LLW (which we call ILLW). In addition, we shall show the finite model property for contractive linear logic (LLC), i.e., linear logic with contraction, and for its intuitionistic version (ILLC). (...) 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)

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: copying an artist's drawing, then producing an original drawing; producing an original drawing without having seen another's work; and copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the (...) model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork. (shrink)

Proof-theory has traditionally been developed based on linguistic (symbolic) representations of logical proofs. Recently, however, logical reasoning based on diagrammatic or graphical representations has been investigated by logicians. Euler diagrams were introduced in the eighteenth century. But it is quite recent (more precisely, in the 1990s) that logicians started to study them from a formal logical viewpoint. We propose a novel approach to the formalization of Euler diagrammatic reasoning, in which diagrams are defined not in terms of regions as in (...) the standard approach, but in terms of topological relations between diagrammatic objects. We formalize the unification rule, which plays a central role in Euler diagrammatic reasoning, in a style of natural deduction. We prove the soundness and completeness theorems with respect to a formal set-theoretical semantics. We also investigate structure of diagrammatic proofs and prove a normal form theorem. (shrink)

In the performing arts, such as music and dance performances, people actively interact with each other and show their exciting performances. Some studies have proposed that this interaction is a social origin of the performing arts. Some have further investigated this phenomenon based on the synchronization and coordination theory. Though the majority of these studies have focused on the collaborative context, several genres of the performing arts, such as jazz sessions and breakdance battles, have a competitive context. Several studies have (...) suggested that, in this competitive context, performers actively interact with each other and construct some correspondence. Moreover, a few recent studies focusing on competitive conversations, such as debates, have shown that, compared to people's interactions in collaborative conversations, people in competitive contexts frequently coordinate their behaviors in complicated ways. However, the interaction and coordination among performers in these competitive contexts have not been sufficiently investigated. Therefore, we investigated the coordination of expert breakdancers in battle scenes and measured their rhythmic movements using a motion capture system. We calculated the relative phase of the rhythmic movements between two dancers to investigate their coordination. The results showed that the dancers' rhythmic movements tended to synchronize in an anti-phase fashion, which means that there were similarities as well as differences between the two dancers' rhythmic movements. Furthermore, this pattern of coordination changed dynamically as time elapsed, from an in-phase synchronization or leader-follower relationships to an anti-phase synchronization and then leader-follower relationships. (shrink)

The paper traces the development and the role of syntactic reduction in Edmund Husserl’s early writings on mathematics and logic, especially on arithmetic. The notion has its origin in Hermann Hankel’s principle of permanence that Husserl set out to clarify. In Husserl’s early texts the emphasis of the reductions was meant to guarantee the consistency of the extended algorithm. Around the turn of the century Husserl uses the same idea in his conception of definiteness of what he calls “mathematical manifolds.” (...) The paper argues that the notion anticipates the notion of reduction in term rewrite theory in computer science. The role of the reduction for Husserl is, however, primarily epistemological: its purpose is to impart clarity to formal mathematics. (shrink)

We introduce subsystems WLJ and SI of the intuitionistic propositional logic LJ, by weakening the intuitionistic implication. These systems are justifiable by purely constructive semantics. Then the intuitionistic implication with full strength is definable in the second order versions of these systems. We give a relationship between SI and a weak modal system WM. In Appendix the Kripke-type model theory for WM is given.

We treat a class of multi-person bargaining mechanisms based on games in coalitional form. For this class of games we identify properties of non-cooperative solution concepts, which are necessary and sufficient for the equilibrium outcomes to coincide with the core of the underlying coalitional form game. We view this result as a non-cooperative axiomatization of the core. In contrast to most of the literature on multi-person bargaining we avoid a precise specification of the rules of the game. Alternatively, we impose (...) properties of such games, which give rise to a large class of mechanisms, all of which are relevant for our axiomatization. (shrink)

For a robot to cohabit with people, it should be able to learn people’s nonverbal social behavior from experience. In this paper, we propose a novel machine learning method for recognizing gestures used in interaction and communication. Our method enables robots to learn gestures incrementally during human–robot interaction in an unsupervised manner. It allows the user to leave the number and types of gestures undefined prior to the learning. The proposed method (HB-SOINN) is based on a self-organizing incremental neural network (...) and the hidden Markov model. We have added an interactive learning mechanism to HB-SOINN to prevent a single cluster from running into a failure as a result of polysemy of being assigned more than one meaning. For example, a sentence: “Keep on going left slowly” has three meanings such as, “Keep on (1)”, “going left (2)”, “slowly (3)”. We experimentally tested the clustering performance of the proposed method against data obtained from measuring gestures using a motion capture device. The results show that the classification performance of HB-SOINN exceeds that of conventional clustering approaches. In addition, we have found that the interactive learning function improves the learning performance of HB-SOINN. (shrink)

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)

We introduce a simple inference system based on two primitive relations between terms, namely, inclusion and exclusion relations. We present a normalization theorem, and then provide a characterization of the structure of normal proofs. Based on this, inferences in a syllogistic fragment of natural language are reconstructed within our system. We also show that our system can be embedded into a fragment of propositional minimal logic.

We shall give a direct proof of the independence result of a Buchholz style-Hydra Game on labeled finite trees. We shall show that Takeuti-Arai's cut-elimination procedure of $(\Pi^{1}_{1}-CA) + BI$ and of the iterated inductive definition systems can be directly expressed by the reduction rules of Buchholz's Hydra Game. As a direct corollary the independence result of the Hydra Game follows.

Short interspersed repetitive elements, or SINEs, are tRNA-derived retroposons that are dispersed throughout eukaryotic genomes and can be present in well over 104 total copies. The enormous volume of SINE amplifications per organism makes them important evolutionary agents for shaping the diversity of genomes, and the irreversible, independent nature of their insertion allows them to be used for diagnosing common ancestry among host taxa with extreme confidence. As such, they represent a powerful new tool for systematic biology that can be (...) strategically integrated with other conventional phylogenetic characters, most notably morphology and DNA sequences. This review covers the basic aspects of SINE evolution that are especially relevant to their use as systematic characters and describes the practical methods of characterizing SINEs for cladogram construction. It also discusses the limits of their systematic utility, clarifies some recently published misunderstandings, and illustrates the effective application of SINEs for vertebrate phylogenetics with results from selected case studies. BioEssays 22:148–160, 2000. ©2000 John Wiley & Sons, Inc. (shrink)

The thesis according to which the meaning of a mathematical sentence is given by its proof was held by both Wittgenstein and the intuitionists, following Heyting and Dummett. In this paper, we clarify the meaning of this thesis for Wittgenstein, showing how his position differs from that of the intuitionists. We show how the thesis originates in his thoughts, from the middle period, about proofs by induction, and we sketch his answers to a number of objections, including the idea that, (...) given the particular meaning he gives to this thesis, he cannot account for mathematical conjectures. We conclude by showing how his views find a favourable echo today in the paradigm of “proposition-as-type” and extensions of the Curry-Howard isomorphism from which this paradigm originates. (shrink)