In this paper, we propose an annotated logic program called aVALPSN to dealwith defeasible reasoning. We propose a translation from Billington’s defeasible theory into VALPSN and clarify the relation between them based onthe translation.

A dialectical contradiction can be appropriately described within the framework of classical formal logic. It is in harmony with the law of noncontradiction. According to our definition, two theories make up a dialectical contradiction if each of them is consistent and their union is inconsistent. It can happen that each of these two theories has an intended model. Plenty of examples are to be found in the history of science.

An autonomous agent in the real world should learn its own sensor-motor coordination through interactions with the environment; otherwise the behaviors can not be grounded and they can easily be inappropriate in the variety of the environment. The sensor-motor signals are usually complex time sequence, therefore the cognitive action system of the agent has to handle them.In this paper, we propose a computational model of the cognitive action system that consists of a sensor space HMM-SOM, a motor space HMM-SOM and (...) connection mapping between the two HMM-SOMs. A HMM-SOM can be recognized as a set of HMMs that are placed in a SOM space. It can model a set of complex time series signal in a self-organizing manner.We apply this HMM-SOM based cognitive action system on vision-motion and auditory-articulation signals. The experimental results show that this system is basically capable of constructing sensor-motor coordination structure in a self-organizing manner, handling complex time series signals. (shrink)

The teikei movement is a Japanese version of the alternative food movement, which emerged around the late 1960s and early 1970s. Similar to now well-known Community Supported Agriculture, it is a farmer-consumer partnership that involves direct exchanges of organic foods. It also aims to build a community that coexists with the natural environment through mutually supportive relationships between farmers and consumers. This article examined the history of the teikei movement. The movement began as a reaction to negative impacts of mechanized (...) and chemically intensive agriculture promoted by the Japanese government. The movement experienced a rapid expansion in the early 1980s, and then gradually declined thereafter. The organic market expansion and certification system intersected with both cultural and gender role changes, impacting the teikei movement negatively. Consequently, the membership of teikei consumer groups has shrunk. Furthermore, the March 2011 Fukushima Daiichi nuclear power plant accident caused unprece dented damage to organic farmers in the affected regions. Despite the scientific uncertain about the safety level of radiation exposure, the organic farmers and the teikei consumer groups managed the situation and found a way to inspect radiation contamination. They did so with the support by networking with other teikei-related actors. This response to the nuclear power plant accident suggests that although the level of embeddedness presumably varies among teikei actors, ethics guided by the teikei principles are effective in forging a resilient partnership between farmers and consumers and in keeping the teikei system alive as an agent for social change. (shrink)

全国各地で活躍した近江商人の優れた経営手腕や活動の根底には、仏教があった。近江商人と成功に導いた、特有の生活態度を考察する。.

Analyses of the role of technological development in agriculture are central to an understanding of social change in agri-food systems. The objective of this paper is to contribute to the formation of a broader perspective of how farmers are positioning themselves with respect to controversial agricultural technologies through an empirical analysis of Washington State farmers’ willingness or unwillingness to try Genetically Modified Organisms (GMOs) technology on their farms. The use of this type of biotechnology in farming has been criticized for (...) its potential harmful effects on natural environments and socio-cultural systems, while proponents highlight the possibilities for increasing production with minimal use of other inputs. An analysis of the extent of farmers’ expressed willingness to use GMOs provides an opportunity to better understand how their diverse thoughts about controversial agricultural technologies are shaped not only by their own experiences but also by social context. The present study does this by analyzing data from a farm survey conducted on a random sample of farmers from across Washington State. The results show that the production practices farmers utilize and the market strategies they employ may be at least as useful as farmers’ socio-economic characteristics in explaining what types of farmers appear to be more or less interested in potentially using this technology. Furthermore, the relationship between level of formal education and willingness to use GMOs is not straightforward. It may hide differences between farmers with respect to where and how they received their formal education as well as the type(s) of knowledge they gained. It is argued that future research should recognize the diversity that exists in farmers’ interests vis-á-vis particular technologies and should also explore how these interests are shaped by farmers’ past and present social networks and life experiences. (shrink)

Ben shu ji shu le ri ben xian xian er gong zun de de si xiang he shi ji,Nei rong bao kuo:er gong jia de shi fa,Fu bu jia de shi fa,Ying ding de shi fa,Qing mu cun de shi fa,Wu shan de shi fa,Xiao tian yuan shi fa,Xiang dou di qu de shi fa,Xia guan shi fa deng.

In political philosophy, reflective equilibrium is a standard method used to systematically reconcile intuitive judgments with theoretical principles. In this paper, we propose that survey experiments and a model selection method—i.e., the Akaike Information Criterion (AIC)-based model selection method—can be viewed together as a methodological means of satisfying the epistemic desiderata implicit in reflective equilibrium. To show this, we conduct a survey experiment on two theories of distributive justice, prioritarianism and sufficientarianism. Our experimental test case and AIC-based model selection method (...) demonstrate that the refined sufficientarian principle, a widely accepted principle of distributive justice, is no more plausible than the prioritarian principle. This tells us that some changes of certain intuitions revolving around sufficientarianism should be examined (separately) based on the findings of the survey experiment and AIC model selection. This shows the potential of our approach—both practically and methodologically—as a novel way of applying reflective equilibrium in political philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 50-58 [Access article in PDF] Evolution in Qualitative Factors Used to Evaluate Japanese Students [Tables] Introduction Two basic viewpoints are typically taken in the evaluation of achievement in Japanese schools: either the focus is primarily on "field-content-basedevaluation" or on "ability-concept-based evaluation." I have compared the qualitative factors encompassed by these two viewpoints as reflected in the permanent school records of Japanese students. (...) These recordsinclude classes taken, grades earned, and school-related information. Kanten (in Japanese) has become a key word in the evaluation of academic achievement in Japan. It represents the qualitative factors that should be considered when evaluating a student's learning achievements. In this essay, I review how these qualitative factors have evolved, both for general subjects and for fine arts.From the beginning of the educational system (1872) to 1938, the "assessment" [Hyoutei] of a student depended on the comprehensiveness of the student's achievement in each subject. (Overall assessments are now usually made using a three-point scale; 1-3, a five-point scale; 1-5, or an ABC scale.) However, it was not clearly specified how scholastic ability and learning accomplishment should be assessed or which qualitative factors should be considered.Starting in 1941, teachers were required to evaluate, comprehensively assess, and record the student's learning, consideration, dealing, application, skill, appreciation, practice, and learning attitude through his or her daily learning and activity. 1 The factors seem to be basically equivalent to those recently used as "interest/aspiration/attitude," "thinking," "judgment," [End Page 50] and "expressive power." After 1941, the point of view in the area of fine arts gradually changed from focusing on the "field-content-based factor" to the "ability-concept-based factor" in both the educational content and in evaluation.This report focuses on the evolution in the qualitative factors used in evaluations in the postwar era. From 1949 to 1991 "Understanding," "attitude," and "skill" were specified as factors that shouldbe considered when evaluating a student's learning achievements in 1949. For a few years, these factors were considered independently in the non-referenced evaluation of five-point ratings. The two basic viewpoints, "field-content-based factor" and "ability-concept-based factor," coexisted in the course of study in the early 1950s, according to a tentative plan published in 1951. "Attitude" and "habits" carried the same weight as "understanding" and "skill." These factors received minimal attention at the elementary school level. Evaluations thus evolved from simply an overall assessment of the student's achievement in a subject to an assessment of these specific factors. For instance, at the elementary school level, drawing and handicrafts both had factors related to "field content difference" (for example, drawing, color, and pattern) and to "ability concept difference" (for example, attitude and habit). At the junior high level, the factors were represented by a double-layer structure (Table 1). The elements underlined in Table 1 reflect on the "ability concept difference" (for example, expression activities and understanding activities) instead on the "field content difference." Following the revision of the permanent cumulative records in 1955, students were evaluated based only on an overall assessment of their individual [End Page 51] performance in each subject (Japanese language, mathematics, social studies, music, and drawing and handicrafts). There were three main reasons for this change.The effort it takes to evaluate each factor analytically. The difficulty of evaluating "attitude." The demand by schools at the next level for a comprehensive and uniform evaluation for each student for each subject. 3Furthermore, although "interest" was added as one of factors to be considered in the evaluation, it was not to be dealt with analytically in the evaluation of what the student learned. Consequently, evaluations became clearer and more comprehensive, although the weights of the factors, referred to as the "affective domain," took a step backward. In 1961, the factor "interest/attitude toward fine arts" was added. At the same time, "interest" was given more weight. However, the higher weighting of the factor was short-lived because intangible factors such as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 50-58 [Access article in PDF] Evolution in Qualitative Factors Used to Evaluate Japanese Students [Tables] Introduction Two basic viewpoints are typically taken in the evaluation of achievement in Japanese schools: either the focus is primarily on "field-content-basedevaluation" or on "ability-concept-based evaluation." I have compared the qualitative factors encompassed by these two viewpoints as reflected in the permanent school records of Japanese students. (...) These recordsinclude classes taken, grades earned, and school-related information. Kanten (in Japanese) has become a key word in the evaluation of academic achievement in Japan. It represents the qualitative factors that should be considered when evaluating a student's learning achievements. In this essay, I review how these qualitative factors have evolved, both for general subjects and for fine arts.From the beginning of the educational system (1872) to 1938, the "assessment" [Hyoutei] of a student depended on the comprehensiveness of the student's achievement in each subject. (Overall assessments are now usually made using a three-point scale; 1-3, a five-point scale; 1-5, or an ABC scale.) However, it was not clearly specified how scholastic ability and learning accomplishment should be assessed or which qualitative factors should be considered.Starting in 1941, teachers were required to evaluate, comprehensively assess, and record the student's learning, consideration, dealing, application, skill, appreciation, practice, and learning attitude through his or her daily learning and activity. 1 The factors seem to be basically equivalent to those recently used as "interest/aspiration/attitude," "thinking," "judgment," [End Page 50] and "expressive power." After 1941, the point of view in the area of fine arts gradually changed from focusing on the "field-content-based factor" to the "ability-concept-based factor" in both the educational content and in evaluation.This report focuses on the evolution in the qualitative factors used in evaluations in the postwar era. From 1949 to 1991 "Understanding," "attitude," and "skill" were specified as factors that shouldbe considered when evaluating a student's learning achievements in 1949. For a few years, these factors were considered independently in the non-referenced evaluation of five-point ratings. The two basic viewpoints, "field-content-based factor" and "ability-concept-based factor," coexisted in the course of study in the early 1950s, according to a tentative plan published in 1951. "Attitude" and "habits" carried the same weight as "understanding" and "skill." These factors received minimal attention at the elementary school level. Evaluations thus evolved from simply an overall assessment of the student's achievement in a subject to an assessment of these specific factors. For instance, at the elementary school level, drawing and handicrafts both had factors related to "field content difference" (for example, drawing, color, and pattern) and to "ability concept difference" (for example, attitude and habit). At the junior high level, the factors were represented by a double-layer structure (Table 1). The elements underlined in Table 1 reflect on the "ability concept difference" (for example, expression activities and understanding activities) instead on the "field content difference." Following the revision of the permanent cumulative records in 1955, students were evaluated based only on an overall assessment of their individual [End Page 51] performance in each subject (Japanese language, mathematics, social studies, music, and drawing and handicrafts). There were three main reasons for this change.The effort it takes to evaluate each factor analytically. The difficulty of evaluating "attitude." The demand by schools at the next level for a comprehensive and uniform evaluation for each student for each subject. 3Furthermore, although "interest" was added as one of factors to be considered in the evaluation, it was not to be dealt with analytically in the evaluation of what the student learned. Consequently, evaluations became clearer and more comprehensive, although the weights of the factors, referred to as the "affective domain," took a step backward. In 1961, the factor "interest/attitude toward fine arts" was added. At the same time, "interest" was given more weight. However, the higher weighting of the factor was short-lived because intangible factors such as... (shrink)

今、なぜトマス・アクィナスか。人間知性が到達を目指して努力すべき、遠大にして究極の理想像として「神」を捉え直す。.

The issue of distributive justice receives substantial amount of attention in our society. On the one hand, we are sensitive to whether and the extent to which people are responsible for being worse off. On the other hand, we are mindful of society’s worst-off members. There has been a debate over luck egalitarianism, which relates to the former concern, and relational egalitarianism, which echoes the latter. By investigating the psychological processes of these two concerns, this paper examines the reliability of (...) the argument that Elizabeth Anderson, a renowned relational egalitarian, presents against luck egalitarianism and for relational egalitarianism. It also considers whether it is possible to support luck egalitarianism and relational egalitarianism simultaneously, using an online experiment. The results of the experiment show that, first, for ordinary people, the luck consideration is as important as the basic capabilities consideration. Second, while real people consider the degree of compensation through the factors of causality and responsibility, the lack of basic capabilities directs them to determine how much victims of bad luck should be compensated. This suggests that pluralist egalitarianism is on the right track. (shrink)

Several studies on time preference have found time inconsistency in both gain and loss preferences. However, the relationship between the two within the same person remains unclear; that is, does an individual who demonstrates time inconsistency for gain outcomes do so for losses as well? This paper reports on individuals’ time inconsistency for gains and losses in a laboratory setting. To obtain a precise comparison of individuals’ time inconsistency for gains and losses, we used Rohde’s “DI -index” :1700–1716, 2018) and (...) measured the level of time inconsistency, rather than merely identifying whether TI was present. This index represents how strongly a person exhibits present bias, and easily extends to the comparison between gain and loss preferences within the same person. Further, it allows the experiment to test for so-called future bias, which has been a focus area in recent time inconsistency literature. It is elicited through a non-parametric method, which avoids any specification errors in the analysis. Our findings are as follows: first, we found future bias in preferences for not only gains but also losses, and we confirmed that this tendency is consistent with previous findings on preferences for gains. Second, a positive correlation between time inconsistency for gains and losses was found at the individual level. Indeed, we could not find a significant difference between the two in most cases. (shrink)

The trolley problem is a classic thought experiment that evokes an ethical dilemma. Thomson’s “bystander” and “footbridge” versions of the trolley problem induce different intuitive judgments about what to choose in the ethical dilemma. However, we can question how robust these intuitive judgments are. We thus conducted an online survey experiment of Thomson’s versions of the trolley problem which showed that more respondents tended to choose not pulling the lever in the bystander version and pushing a person off the bridge (...) in the footbridge version when they believed they were not being watched. These results illustrate that people’s decisions deviate from the social norms in the absence of the public’s attention. To activate the practice of holding the manufacturers to a normative expectation based on the social norms, we suggest the law must be changed. (shrink)

Background: Patients in different countries have different attitudes toward self‐determination and medical information. Little is known how much respect Japanese patients feel should be given for their wishes about medical care and for medical information, and what choices they would make in the face of disagreement. Methods: Ambulatory patients in six clinics of internal medicine at a university hospital were surveyed using a self‐administered questionnaire. Results: A total of 307 patients participated in our survey. Of the respondents, 47% would accept (...) recommendations made by physicians, even if such recommendations were against their wishes; 25% would try to persuade their physician to change their recommendations; and 14% would leave their physician to find a new one. Seventy‐six percent of the respondents thought that physicians should routinely ask patients if they would want to know about a diagnosis of cancer, while 5% disagreed; 59% responded that physicians should inform them of the actual diagnosis, even against the request of their family not to do so, while 24% would want their physician to abide by their family's request and 14% could not decide. One‐third of the respondents who initially said they would want to know the truth would yield to the desires of the family in a case of disagreement. Interpretations: In the face of disagreement regarding medical care and disclosure, Japanese patients tend to respond in a diverse and unpredictable manner. Medical professionals should thus be prudent and ask their patients explicitly what they want regarding medical care and information. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)