Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments (...) can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by our attempt to (...) make sense of nature, such as science, mythology, and folklore, is appropriate because it guides our experience toward understanding nature’s own story embodied in its sensuous surface. (shrink)

Yuriko Saito, the leading figure in the field, explores the nature and significance of the aesthetic dimensions of people's everyday lives. She argues that everyday aesthetics can be an effective instrument for directing humanity's collective and cumulative world-making project.

Yuriko Saito discusses aspects of our everyday experience that have been neglected by modern Western aesthetic theories.

In Visible and Invisible in Greek Philosophy, Professor Yamakawa has collected a number of groundbreaking essays covering the entire history of Greek philosophy from the Presocratics to the Postaristotelians. He explores in a systematic and methodical manner 'the dynamic correlation between the visible and the invisible aspects of Greek philosophers' particularly thoughts.'—Christos Evangeliou, Honorary President, The International Association for Greek Philosophy, Professor of Philosophy, Towson University.

Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments (...) can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.

I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by our attempt to (...) make sense of nature, such as science, mythology, and folklore, is appropriate because it guides our experience toward understanding nature’s own story embodied in its sensuous surface. (shrink)

This essay discusses how the aesthetics of body movements contributes to cultivating other-regarding moral virtues, such as respect and care. The moral and aesthetic assessment of body movements is commonly regarded as a matter of etiquette and manners, which is considered to be nothing more than a superficial convention or a means of maintaining social hierarchy. I argue instead that body movements often facilitate an aesthetic communication of social virtues. As such, body aesthetics is an indispensable ingredient of a good (...) society. The Japanese aesthetic tradition offers a particularly rich legacy of developing the moral character of a person through bodily practices in the artistic, religious, and everyday realms. I will present and analyze various examples from Japanese cultural tradition to illustrate the significance of body aesthetics as a vehicle of cultivating moral virtues. (shrink)

It is generally agreed that the prime mover of contemporary consumerism is aesthetics. However, today's consumer aesthetics often leads to decisions and actions that have negative environmental consequences. By taking apparel industry, represented by fast fashion, as a quintessential example of this problem, I argue that aesthetics can no longer claim immunity from environmental considerations—there needs to be a paradigm shift for consumer aesthetics. A proposed new environmentally minded consumer aesthetics promotes a paradoxical role for material ephemerality in enhancing an (...) object's longevity, and it places importance on the personal connection with an object's story, as well as our engagement with the material world more generally. (shrink)

Takahashi translation * is a translation which means reducing all of the redexes in a λ-term simultaneously. In [4] and [5], Takahashi gave a simple proof of the Church–Rosser confluence theorem by using the notion of parallel reduction and Takahashi translation. Our aim of this paper is to give a simpler proof of Church–Rosser theorem using only the notion of Takahashi translation.

After half a century, environmental aesthetics successfully expanded the scope of modern art-centred Western aesthetic discourse. I argue that further expansion is in order. First, we should explore the aesthetics of the constituents of the environment, namely artefacts, human activities and social relationships, which determine the quality of life and the state of the world. Second, we need to cultivate aesthetic literacy as well as a normative discourse to steer our aesthetic practice toward a better world-making. Finally, environmental aesthetics needs (...) to be globalised to include rich aesthetic traditions of nature and environment from diverse cultures. (shrink)

The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations have serious consequences which determine the quality of life and the state of (...) the world, for better or worse. This power of the aesthetic should be harnessed to direct our cumulative and collective enterprise toward better world-making. Against objections to introducing a normative dimension to everyday aesthetics, I argue for the necessity of doing so and draw an analogy between everyday aesthetics and art-centered aesthetics which has dominated modern Western aesthetics discourse. (shrink)

In recent decades, designers, architects, and landscape architects concerned with their contribution to today’s ecological problems started formulating a new way of designing and creating artifacts. Called “ecological design” and promoted as a corrective alternative to conventional practice, its basic tenet is to draw from nature a guidance for design, rather than imposing our design on nature. This newapproach signifies a welcome change, first by calling attention to the ecological implications of artifacts, a subject matter generally neglected in environmental ethics, (...) and, second, by providing useful, specific suggestions regarding the ecologically responsible way of designing artifacts. However, the conceptual basis and resultant implications of ecological design deserve and need critical analyses. I argue that the basic premise of ecological design—that nature should act as the authority—is problematic by examining analogous strategies from social, political, moral, and aesthetic realms, as well as by exploring its specific application in the promotion of “native” plants in gardens. I end with another issue often neglected in the practice of ecological design: our aesthetic response to the created objects. (shrink)

Aesthetic value cannot be discussed separately from aesthetic experience. According to Western aesthetics discourse, the paradigm of aesthetic experience is a s.

In recent decades, designers, architects, and landscape architects concerned with their contribution to today’s ecological problems started formulating a new way of designing and creating artifacts. Called “ecological design” and promoted as a corrective alternative to conventional practice, its basic tenet is to draw from nature a guidance for design, rather than imposing our design on nature. This newapproach signifies a welcome change, first by calling attention to the ecological implications of artifacts, a subject matter generally neglected in environmental ethics, (...) and, second, by providing useful, specific suggestions regarding the ecologically responsible way of designing artifacts. However, the conceptual basis and resultant implications of ecological design deserve and need critical analyses. I argue that the basic premise of ecological design—that nature should act as the authority—is problematic by examining analogous strategies from social, political, moral, and aesthetic realms, as well as by exploring its specific application in the promotion of “native” plants in gardens. I end with another issue often neglected in the practice of ecological design: our aesthetic response to the created objects. (shrink)

The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations ha ve serious consequences which determine the quality of life and the state (...) ofthe world, for better or worse. This power ofthe aesthetic should be harnessed to direct our cumulative and collective enterprise toward better world-making. Against objections to introducing a norma ti ve dimension to everyday aesthetics, 1 argue for the necessity of doing so and draw an analogy between everyday aesthetics and art-centered aesthetics which has dominated modern Western aesthetics discourse. (shrink)

Determining the relationship between the entire brain structure and individual differences is important in extending healthy life expectancy, which can be affected by brain atrophy. The entire brain structure has been gradually known to be correlated not only with age but also with individual differences, such as quality of life, general intelligence, and lifestyle. However, little attention has been paid to the relationship between the entire brain structure and personal traits. We herein focused on one personal trait, namely spiritual growth, (...) and examined its relationship with the entire brain structure using two neuroimaging-derived measures, namely the gray matter Brain Healthcare Quotient, a measure of GM volume, and the fractional anisotropy Brain Healthcare Quotient, a measure of white matter integrity, in 229 healthy participants. The results indicated no significant relationship between the GM-BHQ and spiritual growth, but there was a significant positive correlation between the FA-BHQ and spiritual growth after controlling for age, sex, and body mass index with partial correlation analysis. Furthermore, multiple regression analysis revealed a significant positive correlation between the FA-BHQ and spiritual growth after controlling for physical characteristics, such as age, sex, and BMI, as well as other variables related to lifestyle that were collected using the Health-Promoting Lifestyle Profile. These results support the idea that there is a relationship between the entire WM brain structure and spiritual growth. Further studies are required to clarify the causal relationship between the entire WM brain structure and spiritual growth with some interventions to improve spiritual growth. Such studies will help extend healthy life expectancy from a new perspective of personal trait. (shrink)

We often derive aesthetic pleasure from nature as well as from works of art. Although our experiences of both are analogous in some respects, there are some important differences. Since nature is not created specifically for aesthetic enjoyment it can be appreciated in more various ways than art. Hence, the distinction between aesthetic and non-aesthetic experience is crucial in examining the aesthetic appreciation of nature. ;An appreciation of any object is considered aesthetic if it is directed toward the sensuous surface (...) of the object for its own sake. This notion of the aesthetic, however, does not necessarily preclude the aesthetic relevance of various conceptual considerations. Examples are provided to illustrate how associated facts can modify our perception of the object's sensuous surface. Thus, a variety of aesthetic appreciations of the same object are possible. ;Among various possible appreciations of an artwork, the range of appropriate responses is limited by cultural, historical, and institutional determinations. In contrast, nature lacks such determinations; consequently, aesthetic considerations in most cases cannot show that certain responses toward nature are inappropriate. Neither can we claim that certain aesthetic responses toward nature are improper because they do not help justify the preservation of nature, hence are ethically undesirable. An aesthetic justification for preserving nature, therefore, presupposes its ethical justification. ;Contrary to a widely held view, such ethical considerations against destroying nature are not suggested by the traditional Japanese love of nature. The Japanese traditionally have appreciated nature for its psychological, aesthetic, and metaphysical values and thus their love toward nature lacks an ethical dimension. I suggest instead that the most fundamental reason for preserving nature concerns its functional unity which is indispensable to our health and survival. In this sense, the aesthetic appreciation of nature that incorporates the scientific considerations regarding such unity helps us develop an ecologically sensitive attitude toward nature. (shrink)

This paper explores the ethical dimensions of aesthetic engagement, the central theme of Arnold Berleant’s aesthetics. His recent works on social aesthetics and negative aesthetics explicitly argue for the inseparability of aesthetics from the rest of life, in particular ethical concerns. Aesthetic engagement requires overcoming the subject-object divide and adopting an attitude of open-mindedness, responsiveness, reciprocity, and collaboration, as well as the willingness and readiness to expose negative aesthetics for what it is. These requirements characterize not only the nature of (...) aesthetic experience but also, perhaps more fundamentally, our mode of being in the world and the accompanying ethical responsibility. Among the present paper’s principal aims is to show how this view of aesthetic and ethical stance is also shared by the important aspects of the Japanese worldview, aesthetics, and artistic practices. (shrink)

The current paper presents two experiments investigating the effect of presence versus absence of compulsory number marking in a native language on a speaker's ability to recall number information from photos. In Experiment 1, monolingual English and Japanese adults were shown a sequence of 110 photos after which they were asked questions about the photos. We found that the English participants showed a significantly higher accuracy rate for questions testing recall for number information when the correct answer was “2” (instead (...) of “1”) than Japanese participants. In Experiment 2, English and Japanese adults engaged in the same task as in Experiment 1 with an addition that explored reasons for the results found in Experiment 1. The results of Experiment 2 were in line with the results of Experiment 1, but also suggested that the results could not be attributed to differences in guessing patterns between the two groups or the type of linguistic constructions used in the test situations. The current study suggests that native language affects speakers' ability to recall number information from scenes and thus provides evidence for the Whorfian hypothesis. (shrink)