Dysfunctional attentional control is observed in patients with mental disorders. However, there is no established neurophysiological method to assess attention in such patients. We showed a discrepancy in alpha-band power in the tasks that evoked internal and external attention event-related alpha-band power changes in healthy subjects during self-reflection and working memory tasks in a preliminary study. In this study, we aimed at elucidating event-related alpha-band power changes in healthy subjects during the tasks, addressing the shortcomings of the previous study. Sixteen (...) healthy volunteers were examined for the event-related power change during the tasks. The results demonstrated the discrepancy of alpha-band ERpow at 8, 10, and 12 Hz in the parieto-occipital area between the WM and SR tasks for a period between a target stimulus and a command stimulus, where a participant switched to internal attention from external attention according to the SR task and remained at external attention according to the WM task. The results suggest that alpha-band ERpow in this area is associated with the direction of attention in response to cognitive stimuli, indicating that the findings of ERpow during the two tasks would potentially aid in the clarification of the pathophysiology of the dysfunctional change in attention in patients with psychiatric disorders. (shrink)

Thirteen up-and-coming researchers in the philosophy of mathematics have been invited to write on what they take to be the right philosophical account of mathematics, examining along the way where they think the philosophy of mathematics is and ought to be going. A rich and diverse picture emerges. Some broader tendencies can nevertheless be detected: there is increasing attention to the practice, language and psychology of mathematics, a move to reassess the orthodoxy, as well as inspiration from philosophical logic.

The two competing camps of theorists in moral psychology share one common view on the disagreement between their theories: moral foundations theory presupposes basic emotion theory, while dyadic morality theory presupposes constructionist theory of emotion. The paper challenges this common view. First, it reviews the four theories. Second, it clarifies the issue about the relation between the moral contents and emotions on which the two camps of moral-psychological theorists dispute. Third, it identifies the explananda for the moral-psychological theories, and examines (...) the two distinctive types of explanations that each of the two theories offers to them. Finally, it concludes that the deepest disagreement between the two morality theories consists in the role that the theories give to emotions in explaining moral judgments. (shrink)

Étienne de Páleč († c. 1422) fut l’un des premiers à soutenir le réalisme de Wyclif à la Faculté des arts de Prague. Cet article donne un aperçu de ses ouvrages sur les universaux, dont l’origine est à situer vers 1394-1396. Dans certains cas, le but d’Étienne était probablement de défendre le réalisme en général, et non pas seulement celui de Wyclif. L’article comprend l’édition d’une question d’Étienne sur les universaux. Sont également analysées la transmission textuelle de la quaestio et (...) l’influence possible d’un auteur réaliste anonyme attaqué par Buridan dans les années 1330. (shrink)

dicates implying a surplus in the background from previous negation) and the other three combinations . The second part of the study in relation to the issue of intersubjectivity summarizes Hegel's unhappy consciousness analysis of figures from the Phenomenology of Spirit and shows that it takes insufficient account of Hegel older authors, which is just Dionysios. In writings on mystical theology can find is the formal structure of intersubjectivity, and Hegel's analysis so they can not be correct.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey in 1992, distributed to 156 (...) art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey in 1992, distributed to 156 (...) art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)

This article traces the limits of the understanding of beauty as unified multiplicity in Plotinus’ Enneads vi 2 and vi 6. These treatises can be read as insisting on the significance of multiplicity for beauty and as implying a distinction between the illuminated and the unilluminated beauty of Intellect. In treatise vi 7, this distinction is made explicit and a deeper understanding of beauty as the manifestation of the Good in Intellect is introduced.

Pyridoxal 5′‐phosphate, the vitamin B6 derivative, acts as the coenzyme of many enzymes involved in amino acid metabolism. Exceptionally, this compound was found covalently bound to glycogen phosphorylase, the key enzyme in the regulation of glycogen metabolism. Although it is essential for the function of phosphorylase, its direct role has remained an enigma. We have recently found that the glucose moiety of pyridoxal (5′)diphospho (1)‐α‐D‐glucose, a conjugate of pyridoxal 5′‐phosphate and glucose 1‐phosphate through a pyrophosphate linkage, is transferred to the (...) nonreducing end of glycogen, forming a new α‐1,4‐glucosidic linkage. This finding emphasizes the importance of the direct phosphate‐phosphate interaction between the coenzyme and the substrate in the phosphorylase catalytic reaction. We have proposed a catalytic mechanism for phosphorylase in which the phosphate group of pyridoxal 5′‐phosphate acts as an electrophile to the phosphate group of glucose 1‐phosphate. This appears to represent the first instance of the direct involvement of a phosphate group in catalysis by enzymes. (shrink)

Introduction of the philosophy of Pavlos Kalligas.

Though there has been an array of methods to evaluate the extent of sarcoidosis, it is generally difficult to detect central nervous system involvement. Recently it has become accepted that 18F-FDG PET is more sensitive than gallium scintigraphy in finding sarcoid lesions, however its usefulness and limitations for detecting sarcoidosis in the central nervous system, especially in the spinal cord, has rarely been investigated. Two patients with pathologically confirmed sarcoidosis manifested spinal symptoms. We conducted 18F-FDG PET along with conventional imagings (...) before and after treatment. Abnormal FDG uptakes which could not be detected by gallium scintigraphy were shown in the spinal cords in both patients. These abnormal uptakes were diminished in accordance with clinical improvement after treatment. Our findings suggest that 18F-FDG PET is effective in detecting and tracking the activity of spinal sarcoidosis. (shrink)

The thesis investigates Plotinus' concept of beauty. Chapter 1 focuses on two methodological issues: development in Plotinus' thought and topics of the concerned Enneads. Since Plotinus wrote two Enneads directly devoted to this topic which were numbered and named by Porphyry I.6 On beauty and V.8 On intellectual beauty, these two treatises are addressed first in the context of other relevant Enneads. The outcome of these chapters is that beauty is primarily to be found in Intellect and that it is (...) closely linked with unity in multiplicity, so this topic is further investigated in more detail. Five mutually interconnected perspectives Plotinus assumes to describe the unity in multiplicity specific to the Intellect, are outlined. Two of them that are related to the nature of intellection and intelligible objects are discussed in chapters 2 and 3. The one related to Intellect's genesis is analysed throughout the thesis. Therefore, most of chapter 4 focuses on the remaining two perspectives which are connected with Intellect's hierarchical and structural unity in multiplicity. In chapter 5, Ennead VI.7 is analysed in order to deepen the concept of beauty and refine its relation to the Good, life and other predicates. The last chapter presents a systematic... (shrink)

Although Plotinus’ two treatises on beauty could be taken to reflect an evolution in his thought, a careful examination shows that he consistently argues for a conception of beauty as the illuminated unity in multiplicity of the Intellect.

The essay first succinctly points out shortcomings in previous interpretations of Plotinus’ notion of beauty. Beauty is to be connected primarily with Intellect, which is to be understood as a special unity in diversity. The section of the essay devoted to aesthetics is therefore preceded by a short analysis of Intellect’s unity and diversity. The hypothesis about the primary relation of beauty to the Intellect is then corroborated by a reading of Ennead V.8 and further developed. The emphasis is on (...) three basic aspects of beauty: its being a unity of a mixture whose character is shared by all ontological levels; its function of referring to what is above it; and its fundamental accessibility. Though Plotinus opposes the Stoic notion of beauty as symmetry and stresses beauty’s simplicity, it follows for him that beauty has the character of unitas multiplex, albeit a special one. (shrink)

Alternative interpretations are proposed for the finding that market integration is positively related to fair behavior in experimental games. Market activities may produce market relevant concepts and stories that interpret experimental games as incidences of social exchange, and thus may enhance the relevance of (1) market-related preferences or (2) a decision heuristic designed for social exchange.

This chapter contains sections titled: Introduction Paraconsistent Logic and Latin America Thinking about Logic The Nature of Paraconsistent Logic A History of Paraconsistent Logic Philosophical Aspects of Paraconsistent Logic References Further Reading.

Extending techniques of Dowd and those of Poizat, we study computational complexity of in the case when is a generic oracle, where is a positive integer, and denotes the collection of all -query tautologies with respect to an oracle . We introduce the notion of ceiling-generic oracles, as a generalization of Dowd's notion of -generic oracles to arbitrary finitely testable arithmetical predicates. We study how existence of ceiling-generic oracles affects behavior of a generic oracle, by which we show that is (...) not a subset of is comeager in the Cantor space. Moreover, using ceiling-generic oracles, we present an alternative proof of the fact (Dowd) that the class of all -generic oracles has Lebesgue measure zero. (shrink)

Feinberg and Mallatt, in their presentation of neurobiological naturalism, have suggested that visual consciousness was acquired by early vertebrates and inherited by a wide range of descendants, and that its neural basis has shifted to nonhomologous nervous structures during evolution. However, their evolutionary scenario of visual consciousness relies on the assumption that visual consciousness is closely linked with survival, which is not commonly accepted in current consciousness research. We suggest an alternative idea that visual consciousness is linked to a specific (...) class of agency, consequently justifying their phylogenetic claim. We also examine the implication of their phylogenetic claim: visual consciousness is homologous across vertebrates, but its neural basis is not. This apparent incongruence illustrates a general phenomenon of homology, and that the resulting hierarchical view of visual consciousness and its neural basis can be straightforwardly accommodated by neurobiological naturalism. Throughout these discussions, we aim to address the potential theoretical issues in neurobiological naturalism and refine the picture illustrated by Feinberg and Mallatt regarding phylogenetic distribution and trajectories of visual consciousness. (shrink)

Modality - the question of what is possible and what is necessary - is a fundamental area of philosophy and philosophical research. The Routledge Handbook of Modality is an outstanding reference source to the key topics, problems and debates in this exciting subject and is the first collection of its kind. Comprising thirty-five chapters by a team of international contributors the Handbook is divided into seven clear parts: worlds and modality essentialism, ontological dependence, and modality modal anti-realism epistemology of modality (...) modality in science modality in logic and mathematics modality in the history of philosophy. Within these sections the central issues, debates and problems are examined, including possible worlds, essentialism, counterfactuals, ontological dependence, modal fictionalism, deflationism, the integration challenge, conceivability, a priori knowledge, laws of nature, natural kinds, and logical necessity. The Routledge Handbook of Modality is essential reading for students and researchers in epistemology, metaphysics and philosophy of language. It will also be very useful for those in related fields in philosophy such as philosophy of mathematics, logic and philosophy of science. (shrink)