Despite the police preventing special fraud victimisation of older adults, both the number of cases and the amount of damage have remained high in Japan. ‘Special fraud’, in Japan, is a crime in which victims are tricked by fraudsters who through phone or postcards impersonate the victims’ relatives, employees and other associates, to dupe the victims of their cash or other valuables. The number of recognised cases of special fraud has been turned to increase in 2021. Although police or consumer (...) affairs administrations have been conducting all-encompassing enlightenment or public education for prevention, it is also necessary to reach out to those who are vulnerable to fraud. In this study, we determine the psychosocial characteristics of victims of special fraud in Japanese older adults. We analysed the age, gender, education, residential status, household satisfaction, risk perception and scam vulnerability scale of 56 older adults aged 60 years or older who had been victims of special fraud and 99 older adults aged 60 years or older who had never been victims of special fraud. The study found that the victimised older adults were more likely to be females who live alone and go out less frequently than the non-victimised older adults. The total scores of the scam vulnerability scale were higher among the elderly victims of special fraud compared to those who had never been scammed, suggesting that the psychosocial characteristics of victims of special fraud among older adults are being female, living alone, going out infrequently, having high confidence against fraud victimisation and responding quickly to phone calls and unknown visitors. Therefore, government agencies or family members should take care of older women who meet these characteristics to reduce their contact with fraudsters. (shrink)

With the expression apophatic aesthetics, Amador Vega names different cases of twentieth-century hermeneutics of negativity that show a spiritual debt to negative theology and in particular to the major mystical trends of Medieval Europe. Our aim here is to explore how this category applies to the artistic work created by the contemporary artists Arakawa and Gins. However, our focus is not on the debt of these artists to apophatism in the Christian tradition but in Buddhism, especially in Zen. Through an (...) analysis of various artworks, the article intends to determine the reminiscences of the evocation of emptiness in Zen-related arts. By so doing, despite the lack of continuity with tradition, it seems possible to uncover certain links with Japanese classic aesthetics. At the same time, since emptiness is a notion revisited in modern Japanese thought, the paper raises the question of its role as an ascetic way of thought, capable of avoiding conceptual limitations and thus opening new paths to philosophy. In this sense, insofar as thinkers well known as critics of modernity, such as Lyotard, Danto, or Taylor, have dialogued with Arakawa and Gins's artistic proposal, a connection between certain aspects of Japanese philosophy and so-called postmodern thought is suggested. (shrink)

The essay discusses the religious and ethical message of Shusaku Endo’s Silence. Briefly focusing first on the plot of the novel, the article proceeds to discuss the moral dilemma that is the core of the novel and asks whether the dilemma is symmetrical or incommensurable. Next, the essay analyzes the dilemma from the point of view of Max Scheler’s theory of the tragic. Finally, to highlight Rodrigues’s tragic situation, it discusses the notion of the hiddenness of God.

1. IntroductionHaving been adapted into a movie by Martin Scorsese in 2016, Silence is Shūsaku Endō’s most famous novel outside of Japan. Initially published in 1966, the novel is about seventeenth-century Jesuit missionaries who secretly make a voyage to Japan in search of their spiritual Father who has reportedly renounced his faith after being tortured by local authorities. In his foreword to Endō’s Silence, Scorsese, a devout Catholic and long-standing admirer of Endō’s work, claims that the novel is “about the (...) particular and the general. And it is finally about the first overwhelming the second.”1 Not only did Endō acknowledge an inevitable conflict between experience and belief, but he also creatively adapted his faith for a different reality. Endō described Catholicism as “Western clothing my mother gave me,” which, throughout his life, he tried to tailor into a Japanese kimono that would fit him.2 Suffering from an unhappy marriage, his mother turned to Catholicism, and Endō followed her in this pursuit at the age of eleven. (shrink)

This paper explores the situated body by briefly surveying the historical studies of effect and of affect which converge in current work on attention. This common approach to the situated body through attention prompted the coining of a more inclusive term, Effect, to indicate the situated body's mode of observation. Examples from the work of artist-turned-architects, Arakawa and Gins, will be discussed to show how architectural environments can act as heuristic tools that allow the situated body to research its own (...) conditions. Rather than isolating effect from affect, observer from subject, organism from environment, Arakawa and Gins' work optimises the use of situated complexity in the study of the site of person. By constructing surrounding in which to observe and learn about the shape of awareness, their procedural architecture suggests ways in which the interaction of top-down conceptual knowledge and bottom-up perceptual learning may construct possibilities in emergent rather than programmatic ways. (shrink)

No one has yet determined what the body can do …What could be the educational relevance of an architecture designed to make its inhabitants live forever? At first, it is hard to take seriously that Madeline Gins and Arakawa, in their work Architectural Body, are trying to escape mortality. Many are those who smile and say that what they call "the architectural surrounds" that they have designed and built for what they call "organisms that person" are intriguing enough, but this (...) idea of slipping death's grip… Really. They say. Hmmm. And they clear their throats. But is it really that unusual to think that what inspires philosophical thinking is death? And insofar as death has inspired philosophy, hasn't it inspired .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Effecting AffectionThe Corporeal Ethics of Gins and ArakawaGordon C. F. Bearn (bio)No one has yet determined what the body can do …—Spinoza, Ethics, 1677, Part III, proposition 2, ScholiumWhat could be the educational relevance of an architecture designed to make its inhabitants live forever? At first, it is hard to take seriously that Madeline Gins and Arakawa, in their work Architectural Body, are trying to escape mortality. Many are (...) those who smile and say that what they call "the architectural surrounds" that they have designed and built for what they call "organisms that person" are intriguing enough, but this idea of slipping death's grip… Really. They say. Hmmm. And they clear their throats. But is it really that unusual to think that what inspires philosophical thinking is death? And insofar as death has inspired philosophy, hasn't it inspired escape—and if not escape from death itself then at least escape from its terrors? Plato's Phaedo is an early instance of this, and Wittgenstein's Tractatus is a more recent one, no less explicit in its discussion of death. Gins and Arakawa are therefore part of a long and traditional line of philosophers who's thinking never quite loses sight of death. But why are philosophers concerned with death?The reason is simple. By and large, philosophers don't like it here. They would rather be somewhere else. And what don't they like about it here? Often, almost invariably, it is becoming that bothers them. Becoming. And they don't like becoming both for existential and metaphysical reasons. Existentially, "becoming" means change. Today's friends may betray you tomorrow, or the next day. And even if they don't, they will die. And be gone. You too. Soon enough. Dead. Existentially, change and becoming ruin everything we care about—people and projects. Metaphysically, "becoming" is a threat to the dream of understanding, the dream of forming a precise [End Page 40] picture of the world. I learned this from the opening pages of Deleuze's Logic of Sense. On top of the cake, beautifully marked in currants, are the words "EAT ME," and Alice did. She ate the cake and grew taller. And what, you may wonder, is the problem with that? It happens at children's parties every day, even after eating normal cake.Common sense assumes that at any moment Alice will be a certain height, and that as the moments pass her height will increase. But this is just as if we had taken an egg-slicer to her becoming taller, turning becoming into a succession of unchanging slices of being. This egg-sliced reality is good enough for ordinary work, and it is good enough, by means of the calculus, for science and for physics. But it is not good enough for metaphysics. If at a given moment Alice is really becoming taller, then at that moment, while she is becoming, she must paradoxically be both a definite height h, and also not h. If there is becoming, then the world cannot be completely conceptually represented. And if everything is becoming, then nothing can be conceptually represented. That is the metaphysical difficulty with becoming, and so philosophers run from becoming. They run both from death and from what is beyond representation.They tend to go in either of two directions. Up or down. Either up to eternity if you are drawn to the transcendent, or down to the rough ground, the earth, if you are drawn to the ordinary. In either case, the negation implicit in becoming, whether it is the negation of life or the negation of our dreams of conceptual representation, both of these negations are themselves negated. It is the old philosophical gambit: backing by double negation into an ersatz affirmation. Gins and Arakawa join neither of these two ways of escaping becoming. But first let us see why these two negations are disappointing.Take the way up first. This is famously the technique of Plato's Phaedo. Worried that your lover or your mother or you yourself is going to die, Plato's Socrates carves out room for the eternity of the form of human... (shrink)

We shall be in a position to hear the voice of the Good Shepherd only when we have stopped using the Christian religion to shield us from the realities of our lostness and our night.

Arakawa and Gins have been fomenting revolution for a long time. In the last twenty years their attention has turned more and more towards architecture and urban planning as a way of reforming our bodily existence. Their proposals enter daily life rather than staying in the isolated sphere of the museum or gallery. These constructions are to be lived in, not contemplated. Will daily life then blunt or sharpen Arakawa and Gins's power to educate and revise our "architectural bodies"?

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...) wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art. Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. _Thought in the Act_ enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics. (shrink)

Nots is a virtuoso exploration of negation and negativity in theology, philosophy, art, architecture, postmodern culture, and medicine. In nine essays that range from nihility in Buddhism to the embodiment of negativity in disease, Mark C. Taylor looks at the surprising ways in which contrasting concepts of negativity intersect. In the first section of this book, Taylor discusses the question of the "not" in the religious thought of Anselm, Hegel, Derrida, and Nishitani. In the second part, he analyzes artistic efforts (...) "to figure not" in the work of artists Arakawa and Madeline Gins, architect Daniel Libeskind, pop artist David Sallee, and pop icon Madonna. The final section consists of a deeply personal and scientifically informed chapter that discusses the workings of negativity in immunology and illness. Taylor's essays work toward a sense of the not as unnameable as it is irrepressible--an "unthinkable third" that falls between being and nonbeing. Bringing together concerns that span Taylor's early investigations of Hegel and Kierkegaard and recent studies of art and architecture, Nots is an important contribution by one of the most original and distinctive voices now writing on the American scene. Religion and Postmodernism series. (shrink)

In this paper, I argue by example for the possibility of genuine dilemmas internal to Christian ethics. My example is the life of Sebastian Rodrigues, who is the protagonist of Shusaku Endo's moving novel "Silence". The first part of the paper is devoted to retelling Endo's story, highlighting salient ethical and religious features of the life of Rodrigues. The latter half of the paper argues for an interpretation of the story according to which Rodrigues confronts a real conflict between (...) the obligation to love God with total devotion and the obligation to love one's neighbor as oneself. I conclude with the suggestion that the outcome of this conflict is not ultimately tragic because it serves providentially to move Rodrigues closer to Christ in suffering love. (shrink)

Although not ignored, Rahner’s theology has not played a significant influence on the interdisciplinary scholarship between Catholic theology and literature, perhaps because Rahner’s thought is often considered to lack a theological aesthetics. This article encourages a reevaluation of this impression by bringing Rahner’s theology of symbol and his argument for the anonymous Christian into dialogue with the last novel of the acclaimed Japanese Catholic Shusaku Endo, Deep River. Endo’s novel challenges theologians to consider Rahner’s insights in concrete, multi-cultural, and (...) non-Christian contexts, and demonstrates the importance of thinking about Rahner’s theology of symbol in terms of narrative. At the same time, Endo’s novel prompts a reconsideration of Rahner’s controversial argument for the anonymous Christian, for Rahner’s thought and Endo’s novel present two different approaches to the issue of religious pluralism. In this dialogue between novelist and theologian, the Incarnational foundation of Rahner’s argument for the anonymous Christian emerges more clearly, a foundation that can be easily missed amidst his abstract rhetoric. (shrink)

From its beginning in the 1940s, the nuclear regime has been the subject of aesthetic as well as political practices and interventions. This article examines a number of such interventions, from the Surrealists via the Situationists to the present. The focus is on forms of aesthetic activism that challenges the reigning thanatocracy. Key figures are Roberto Matta and Wolfgang Paalen, Situationists such as Debord and Vaneigem in the late 1950s and 1960s, later writings by ex-Situationists and pro-Situs such as René (...) Riesel and Jaime Semprun, as well as contemporary artists such as Ei Arakawa and The Otolith Group. Through concepts and tropes such as invisibility, survival and mutation, these practitioners seek to counteract the “insensible” nature of radiation and problematize post-war society’s dependency on nuclear deterrence and “peaceful” nuclear technology alike. (shrink)

Culture, Not Politics We live in a politicized time. Culture wars and increasingly partisan conflicts have reduced public discourse to shouting matches between ideologues. But rather than merely bemoaning the vulgarity and sloganeering of this era, says acclaimed author and editor Gregory Wolfe, we should seek to enrich the language of civil discourse. And the best way to do that, Wolfe believes, is to draw nourishment from the deepest sources of culture: art and religious faith. Wolfe has been called “one (...) of the most incisive and persuasive voices of our generation,” and this penetrating and wide-ranging book makes a powerful case for the importance of beauty and imagination to cultural renewal. He begins by tracing his own journey from a young culture warrior bent on attacking the modern world to a career devoted to nurturing the creation of culture through contemporary literature and art that renew the Western tradition. Along the way, Wolfe finds in Renaissance Christian humanists like Erasmus and Thomas More—and their belief that imagination and the arts are needed to offset the danger of ideological abstractions— a “distant mirror” in which to see our own times. Beauty Will Save the World offers a revealing introduction to the artists and thinkers who are the Christian humanists of the modern era, from well-known figures like Evelyn Waugh and Wendell Berry to lesser-known authors like Shusaku Endo, Andrew Lytle, and Geoffrey Hill. A section on visual artists Mary McCleary, Fred Folsom, and Makoto Fujimura (accompanied by reproductions of their works) demonstrates that there are artists who can reimagine the Western tradition in strikingly contemporary terms. Finally, Wolfe pays tribute to the conservative thinkers who served as his mentors: Russell Kirk, Gerhart Niemeyer, Marion Montgomery, and Malcolm Muggeridge— all of whom rejected rigid ideology and embraced culture and tradition. At a time when our public discourse has come to be dominated by warring factions with little regard for truth, Wolfe's affirmation of beauty as a redemptive force is both refreshing and encouraging. (shrink)

In this article the question is asked if Buddhism and Christianity can learn from each other. The investigation starts with a short historical overview of the meeting of Buddhists and Christians in Japan. Although the first encounters in the sixteenth century were friendly and hopeful, shortly afterwards a totally different atmosphere arose. Christianity was forbidden and Christians were persecuted and tortured. The novel Silence from Shusaku Endo, gives an impression of the severe oppression. Christians had to endure. Endo’s book, (...) which was published in 1966, gives not only a historical description, but contains a message as well. According to him, East and West are worlds apart and do not go well together. A vivid discussion resulted from this statement of Endo’s. Many did not agree with him and argued that Buddhists and Christians can learn valuable things from each other . From Endo’ book we go back to the period after the opening of Japan in 1853 and describe some of the major factors in the developing of the exchange between Buddhism and Christianity . Moreover, attention is paid to the Monastic Interreligious Dialogue, an initiative which started in 1979 and has been going on up until now. Some arguments are given as to why everybody involved in interreligious dialogue has something to learn from this existential interfaith dialogue . Then the attention shifts from monks and nuns to lay people interested in the spiritual exchange with the East. Nowadays many Westerners, Christians and non-Christians are interested in Eastern religious ideas and practices. Some results of a research among Zen practitioners in the Netherlands and Belgium are summarized. This research analyzed why Zen is attractive to some people. Finally, an attempt is made to formulate what other religious communities could learn from the attractiveness of Eastern spirituality. (shrink)

Beginning with the representation of age in extremis in the nature morte or still life, a depiction of aged artifacts and representations of vanitas, artistic representations particularly in painting associate woman and death. Looking at artistic allegories for age and ageing, raising the question of aura for Walter Benjamin along with Ivan Illich and David Hume, this essay reflects on Heidegger on history together with reflections on the ‘death of art’ as well as Arakawa and Gins and Bazon Brock, both (...) as artists ‘at your service,’ as Brock would say, contra death, and including a brief discussion of wabi sabi and kintsugi. The ‘ageing’ of art includes a review of the (ongoing) debate concerning Michelangelo’s forging of the Laocoon as well as ancient views of age together with contemporary philosophic reflections (Simone de Beauvoir and Michel de Certeau). The figure of Baubô in ancient Greek sculpture and cultic context can make it plain, as Nietzsche shows (as Sarah Kofman follows him on this), that laughter and death are connected (along with fertility cults in antiquity). Satire preserves the Greek tradition of laughing at death and the essay closes with Swinburne. (shrink)

Martin Scorsese’s adaptation of Shusako Endo’s novel Silence takes up the anguished experience of God’s silence in the face of human su-ering. .e main character, the Jesuit priest Sabastião Rodrigues, /nds his faith gu0ed by the appalling silence of God. Yujin Nagasawa calls the particularly intense combination of the problems of divine hiddenness and evil the problem of divine absence. Drawing on the thought of Jesuit founder, Ignatius of Loyola, this essay will explores the way Scorsese’s Silence might enable viewers (...) to both encounter the problem of divine absence and /nd a way of living with it, thereby o-ering a practical response to the problem of divine absence. .is mode of response makes the sort of a0itude Nagasawa recommends accessible by grounding it in an experience akin to catharsis, delivering a clarifying emotional consonance. In this sense, I will argue, /lm can be a practical theodicy. (shrink)