La crise de la démocratie d’aujourd’hui a remis en cause la notion même de la solidarité. Le philosophe japonais, Hiroki Azuma, dans Volonté générale 2.0, présente un argument qui repense les conditions de participation et de présence de la politique. En prenant pour fil conducteur la notion rousseauiste de « volonté générale », il essaie de mettre à jour cette notion classique, en se référant au développement de la technologie informatique. Notre article vise à mesurer la portée politico-philosophique de la (...) « volonté générale 2.0 ». (shrink)

This paper discusses how to refine a given initial legal ontology using an existing MRD (Machine-Readable Dictionary). There are two hard issues in the refinement process. One is to find out those MRD concepts most related to given legal concepts. The other is to correct bugs in a given legal ontology, using the concepts extracted from an MRD. In order to resolve the issues, we present a method to find out the best MRD correspondences to given legal concepts, using two (...) match algorithms. Moreover, another method called a static analysis is given to refine a given legal ontology, based on the comparison between the initial legal ontology and the best MRD correspondences to given legal concepts. We have implemented a software environment to help a user refine a given legal ontology based on these methods. The empirical results have shown that the environment works well in the field of Contracts for the International Sale of Goods. (shrink)

Protein ubiquitination constitutes a post‐translational modification mediated by ubiquitin ligases whereby ubiquitinated substrates are degraded through the proteasomal or lysosomal pathways, or acquire novel molecular functions according to their “ubiquitin codes.” Dysfunction of the ubiquitination process in cells causes various diseases such as cancers along with neurodegenerative, auto‐immune/inflammatory, and metabolic diseases. KCTD10 functions as a substrate recognition receptor for cullin‐3 (CUL3), a scaffold protein in RING‐type ubiquitin ligase complexes. Recently, studies by ourselves and others have identified new substrates that are (...) ubiquitinated by the CUL3/KCTD10 ubiquitin ligase complex. Moreover, the type of polyubiquitination (e.g., K27‐, K48‐, or K63‐chain) of various substrates (e.g., RhoB, CEP97, EIF3D, and TRIF) mediated by KCTD10 underlies its divergent roles in endothelial barrier formation, primary cilium formation, plasma membrane dynamics, cell proliferation, and immune response. Here, the physiological functions of KCTD10 are summarized and potential mechanisms are proposed. (shrink)

篤胤において死の問題は、死後の存在としての霊魂の問題となり、さらには霊魂の行き場所の問題となる。もし人が死後に霊魂となることが確実であり、霊魂の行き着く場所が特定されるのであれば、先に現在の私たちに即 して述べたような死の問題は、「解決」されるに違いない。篤胤はまさにそのことを『霊の真柱』において試み、「幽冥界」という観念を提示することになる。.

In this paper, we explore the traditional conception of a prioricity as epistemic independence of evidence from sense experience. We investigate the fortunes of the traditional conception in the light of recent challenges by Timothy Williamson. We contend that Williamson’s arguments can be resisted in various ways. En route, we argue that Williamson’s views are not as distant from tradition as they might seem at first glance.

Since Japan adopted the concept of informed consent from the West, its inappropriate acquisition from patients in the Japanese clinical setting has continued, due in part to cultural aspects. Here, we discuss the current status of and contemporary issues surrounding informed consent in Japan, and how these are influenced by Japanese culture.

Jennifer Lackey challenges the sufficiency version of the knowledge-action principle, viz., that knowledge that p is sufficient to rationally act on p, by proposing a set of alleged counterexamples. Her aim is not only to attack the knowledge-action principle, but also to undermine an argument for subject-sensitive invariantism. Lackey holds that her examples are counterexamples to the sufficiency version of the knowledge-action principle because (a) S knows the proposition in question, but (b) it is not rational for S to act (...) on it. In this paper, first, I argue against (a) on intuitive and on theoretical grounds. Second, I point out that (b), even if combined with (a), is not sufficient to make for counterexamples to the knowledge-action principle of the relevant kind. Third, I offer two alternative explanations of the intuition Lackey relies on. If either one of them is right, (b) may not be satisfied in her examples. (shrink)

日本を代表する「思考の達人」“Meisterdenker”たちは如何にして、明治維新以降、輸入品ではない、日本固有の思考法・方法論を創りだしたのか?続々重版の大好評、入門講義シリーズ。日本に学問として の「哲学」を定着させるうえで決定的な役割を果たした西田幾多郎『善の研究』と日本的な「倫理学」の方法論を開拓したとされる和辻哲郎『人間の学としての倫理学』を熟読し、日本人の深層に在る思想を探る。.

「社会はより良くなる」という「進歩」の理想が失われ、右も左もいまや弱体化している―。200余年にわたるその過程を描き、地球規模の「正義」でなく、自らの現場から始める「ミニマルな正義」を推奨する、この時 代の正義論。.

プラトン以降の西欧哲学・思想史において、“すぐれた哲学・思想”と思われているものが、いかに擬似宗教化の危険性と隣り合わせにありそのことが哲学者・思想家によってどのように問題化され、論じられてきたのか。 本書では、現代思想に特に強い影響を与えたハイデガー、アーレント、デリダなどの論考をてがかりに、思想史の概観を試みる。新興宗教体験を持つ著者だからこそ、現代日本の思想業界に、“生き生きとしたラディカルな 思想”を中心とした「真の共同体」を求めるかのような、擬似宗教化の風潮が生じていることが分かるのである。.

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)

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)

Machery et al. presented data suggesting the existence of cross-cultural variation in judgments about the reference of proper names. In this paper, we examine a previously overlooked confound in the subsequent studies that attempt to replicate the results of Machery et al. using East Asian languages. Machery et al. and Sytsma et al. claim that they have successfully replicated the original finding with probes written in Chinese and Japanese, respectively. These studies, however, crucially rely on uses of articleless, ‘bare noun (...) phrases’ in Chinese and Japanese, which according to the linguistic literature are known to be multiply ambiguous. We argue that it becomes questionable whether the extant studies using East Asian languages revealed genuine cross-cultural variation when the probes are reevaluated based on a proper linguistic understanding of Chinese and Japanese bare noun phrases and English definite descriptions. We also present two experiments on native Japanese speakers that controlled the use of ambiguous bare noun phrases, the results of which suggest that the judgments of Japanese speakers concerning the reference of proper names may not diverge from those of English speakers. (shrink)

Abstract:Many scientists argue that the world is becoming increasingly dominated by human activity, much to the detriment of the natural world. In what scholars have dubbed the Anthropocene, the current geological epoch during which time human activity has been the dominating force over climate and the environment, many questions of environmental ethics have arisen. Who does the earth belong to? What is the relationship between humans and the environment? What is the moral standing of non-human life? Locke and Rousseau provide (...) varying answers to these questions, which are central to discussions of environmental ethics. In many ways, Locke and Rousseau's answers are opposed to each other, suggesting a differing world view when it comes to environmental ethics. Locke's understanding of environmental ethics seems to dominate, and perhaps even cause, the onset of the Anthropocene, but Rousseau's response, and a potential turn toward his understanding of environmental ethics marks an ideological shift in the way that humans understand their relationship with the world around them. This paper argues that the writings of Locke and Rousseau correspond to different stages of the Anthropocene with significant effects on both environmental ethics and environmental governance and policy. (shrink)

Konrad Lorenz, an ethologist, proposed that certain physical elements are perceived as cute and induce caretaking behavior in other individuals, with the evolutionary function of enhancing offspring survival. He called these features Kindchenschema, baby schema. According to his introspection, these include a large forehead, chubby round features, and chubby cheeks. Previous studies are limited to examining the effects of these facial features on perceived cuteness. However, other morphological factors may be related to perceived cuteness. This study uses Bayesian optimization, one (...) of the global sequential optimization methods for estimating unknown functions, to search for facial morphological features that enhance the perceptions of facial cuteness. We applied Bayesian optimization incorporating Gaussian process ordinal regression, which allows an estimation of the latent cuteness function based on evaluations using the Likert scale. A total of 96 preschool children provided the facial images used in this study. We summarized the facial shape variations using methodologies of geometric morphometrics and principal component analysis up to the third principal component, which we refer to as the face space. A total of 40 participants evaluated the images created by warping the average facial texture of the children's faces with randomly generated parameters in the face space. Facial traits related to perceived cuteness were estimated based on the averaged cuteness function. Perceived cuteness was linked to the relative lower position of facial components and narrower jawline but not to the forehead height. (shrink)

The generality problem is usually taken to arise only for externalist theories of knowledge or justification. In this paper, first, I argue that even internalist theories run afoul of a variant of the generality problem. This is because S may have multiple pieces of evidence concerning the reliability of the token process by which S forms the belief in question, and they determine the degree of Sʼs internalist justification differently. Second, I offer a solution to the generality problem for internalist (...) theories: Sʼs practical reason rather than epistemic reason picks out a piece of evidence concerning reliability as relevant. (shrink)

In this paper, first, I distinguish four questions concerning evidence: (a) the ontological question: what kind of entity qualifies as evidence? (b) the possession question: what is it for S to possess evidence? (c) the evidential relation question: what is it for one or a set of things to be evidence for another? And (d) the evidential basis question: how does S’s evidence contribute to forming, maintaining, or revising S’s doxastic attitudes? Williamson’s E = K thesis is only concerned with (...) question (b). Next, I argue that three recent arguments against the E = K thesis miss the target either because they combine the E = K thesis with something alien, or because they conflate these questions. The arguments I address are the argument from access to evidence, the argument from evidential bootstrapping, and the argument from true belief based on falsehood. The argument from access to evidence combines the E = K thesis with a quasi-skeptical consideration. The argument from evidential bootstrapping is only directed at Williamson’s theory of probability, which is his answer to question (c). The argument from true belief based on falsehood derives its force from an assumption about the basing relation as an answer to question (d). Although I do not deny that it is possible to argue for or against the E = K thesis by appealing to answers to other questions than (b), it is no easy task. (shrink)

In this paper, first, I briefly discuss various types of obstacles and difficulties for cross-cultural study and in particular failure of translational equivalence of linguistic stimuli and questions by referring to the literature in cultural psychology. Second, I summarize the extant cross-cultural studies of semantic judgments about reference and truth-value with regard to proper names, with a focus on Sytsma et al.’s (2015) study that examined the differences between English and Japanese. Lastly, I introduce and discuss the two recent studies (...) of semantic judgments in Japanese that my colleagues and I conducted. These two studies suggest that the translation Sytsma et al. used failed to consider the linguistic features characteristic of Japanese and other East Asian languages, and thereby failed to ensure translational equivalence. (shrink)

Virtue epistemology has it that knowledge is a kind of success through ability, and explains the value of knowledge in terms of the general value of success through ability. However, Duncan Pritchard, in a series of recent writings, argues that knowledge is not merely a success through ability, and the virtue-theoretic explanation of the value of knowledge fails. He derives general claims about what he calls ‘environmental luck’ from certain examples, and uses them against virtue epistemology. First, I propose counterexamples (...) to Pritchard’s general claims about environmental luck. Second, I offer a diagnosis of both Pritchard’s and my examples, according to which they differ as to how many abilities are responsible for the performance in question. Different structures of performance make for different conditions for success to be fully creditable to a subject. Once this is taken account of, virtue epistemology can deal with all the examples, while maintaining its main tenet that the value of knowledge is explained in terms of the value of success through ability. Third, I show that my response to Pritchard’s argument against virtue epistemology is more plausible then the ones offered by John Greco and Ernest Sosa. (shrink)

For most death discharge patients, hospitals in Japan offer seeing-off services, a practice characteristic of Japanese culture. When a patient dies, nurses usually perform after-death procedures before transferring the body to the mortuary, where the nurses and doctors gather to provide the seeing-off service. This study was carried out to determine differences between the nurses’ and bereaved families’ opinions and thoughts regarding the seeing-off service. Semi-structured interviews were conducted with 17 nurses and 6 bereaved families . The interviews assessed: the (...) reasons why nurses provided seeing-off services; thoughts during the seeing-off service; impressions of the mortuary rituals; and the necessity for the seeing-off service. The results indicated that nurses expressed their courtesy and sense of appreciation during the seeing-off service, which was recognised as an important nursing role. In contrast, bereaved families felt thankful but also doubtful, particularly as regards the mortuary rituals. In light of the differences in perspective between nurses and families, it may be that the level of satisfaction with the seeing-off service is largely affected by the relationship between the family and the medical professionals before the patient's death. Our study also notes that Japanese people respect the dead body and treat it with care, reflecting the unique culture and customs of Japan. (shrink)

This paper demonstrates that recent changes in the mass media, especially TV programs, change democratic practice. I argue that this theory is applicable not only to the US, but also to Japan after the 1990s. This paper is organized as follows: the first section confirms that the increase in TV news after the 1980s is driven by an increase in or political news. The second section describes the changes in political practice – elections, policy processes, and party organization brought about (...) by this change in the mass media, using both quantitative and qualitative methods. (shrink)