Japanese architecture emphasizes transitional spaces between rooms rather than the rooms themselves. If these transitional spaces can be successfully realized, then everything in the room will naturally fall into place with anything else. This also applies to the relation between a building and other buildings stretching out through the whole city, and ultimately to the relation of the city to the natural environment. “En” is the Japanese word for such transitional spaces. It means both “edge” and “connection.” It also means (...) destiny. When two people fall in love at fi rst sight or understand each other without having to speak, they are said to have “en.” This article provides a phenomenological description and constitutional analysis of two Japanese bridging structures: the engawa at the side or back of a house or temple which functions as a veranda for viewing the garden and a hallway to connect the rooms, and the hashigakari bridgeway of the Noh theater by which the principal actor gets from the green room to the stage. (shrink)

The Fukushima catastrophe has led to important practical and conceptual shifts in contemporary Japanese architecture which in turn has led to a re-evaluation of the influential 1960s Japanese modern architecture movement, Metabolism. The Metabolists had the ambition to create a new Japanese society through techno-utopian city planning. The new generation of Japanese architects, after the Fukushima event, no longer seek evolutionally social change; rather, the disaster has made them re-consider what architecture is and what architects can do for people who (...) had everything snatched from them by technology and nature. Drawing on the architectural projects of Tange Kenzo and Metabolists in the 1960s and Ito Toyo’s ‘Home-for-All project’ in 2011, the paper explores this major paradigm shift in Japanese architectural theory and practices. (shrink)

What is culture? What can we learn from art, architecture, and fashion about how people relate? Can cultures embody ethical and moral ideals? These are just some of the questions addressed in this book on the cultural philosophy of three preeminent Japanese philosophers of the early twentieth century, Nishida Kitarō, Watsuji Tetsurō and Kuki Shūzō.

Tetsuro Watsuji's Notion of Fudo and Its Cultural Significance -- 'Self-less Openness' and Fudo: Renewed Sustainable Significance of Japanese Vernacular Architecture -- The Ecology of 'We' and Ambient Warmth: Richard Neutra's Ecological Architecture -- Dialectics between the Regional and the Trans-Regional.

We analyse the contention that privacy is an alien concept within Japanese society, put forward in various presentations of Japanese cultural norms at least as far back as Benedict in The chrysanthemum and the sword: patterns of Japanese culture. Houghton Mifflin, Boston, 1946. In this paper we distinguish between information privacy and physical privacy. As we show, there is good evidence for social norms of limits on the sharing and use of personal information (i.e. information privacy) from traditional interactions in (...) Japanese society, as well as constitutional evidence from the late 19th century (in the Meiji Constitution of 1889). In this context the growing awareness of the Japanese public about problems with networked information processing by public sector and commercial organisations from the 1980s (when a law governing public sector use of personal information was first passed) to recent years (when that law was updated and a first law governing commercial use of personal information was adopted) are not the imposition or adoption of foreign practices nor solely an attempt to lead Japanese society into coherence with the rest of the OECD. Instead they are drawing on the experience of the rest of the developed world in developing legal responses to the breakdown of social norms governing interchange and use of personal information, stressed by the architectural changes wrought by networked information processing capabilities. This claim is supported by consideration of standard models of Japanese social interactions as well as of Supreme Court judgements declaring reasonable expectations of protection of privacy to hold in Japan. (shrink)

Challenging clich's of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s. Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through three revealing (...) artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle's Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed's analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity. (shrink)

Zen and Japanese Culture is one of the twentieth century's leading works on Zen, and a valuable source for those wishing to understand its concepts in the context of Japanese life and art. In simple, often poetic, language, Daisetz Suzuki describes his conception of Zen and its historical evolution. He connects Zen to the philosophy of the samurai, and subtly portrays the relationship between Zen and swordsmanship, haiku, tea ceremonies, and the Japanese love of nature. Suzuki's contemplative work is enhanced (...) by anecdotes, poetry, and illustrations showing silk screens, calligraphy, and examples of architecture. Since its original publication in 1938, this important work has played a major role in shaping conceptions of Zen's influence on Japanese traditional arts. Richard Jaffe's introduction acquaints a new generation of readers with Suzuki's life and career in both Japan and America. Jaffe discusses how Zen and Japanese Culture was received upon its first publication and analyzes the book in light of contemporary criticism, especially by scholars of Japanese Buddhism. (shrink)

This article is a reply to Dominic McIver Lopes, 'Shikinen Sengu and the Ontology of Architecture in Japan,' published in The Journal of Aesthetics and Art Criticism 65 (2007). The reply explains how the standard ontology of architecture is able to accommodate Japanese shrines such as Ise Jingu.

Humanistic management in a non-Western context is underexplored, for example, in Japan. Despite numerous publications especially on Japanese management in the 1980s to 1990s the topic of humanistic management in a Japanese context remains largely unexplored. Using Toyota as a case, this article illustrates how a company has systematically implemented Japanese ethical principles based upon Confucianism, Buddhism, Daoism, and Shintoism in its corporate ethics and operations. These moral philosophies emphasize self-improvement, social cooperation, and contribution to society as foundations for good (...) behavior regardless of an individual’s social position. We link some of these philosophic elements with humanistic management in an Asian context. In addition, we came to understand that Toyota’s organizational architecture, i.e., production system and product development rely on an integrated ethical system as their fundamental purpose of business activities, including an expectation that all workers collectively contribute to organizational success and harmony. This differs from many Western approaches which see profit as the purpose of the firm and view their ethical responsibilities in an ex-post fashion. These findings are important, as the scope of humanistic management practices globally needs to be expanded. (shrink)

The Hermit’s Hut offers an original insight into the profound relationship between architecture and asceticism. Although architecture continually responds to ascetic compulsions, as in its frequent encounter with the question of excess and less, it is typically considered separate from asceticism. In contrast, this innovative book explores the rich and mutual ways in which asceticism and architecture are played out in each other’s practices. The question of asceticism is also considered—as neither a religious discourse nor a specific cultural tradition but (...) as a perennial issue in the practice of culture. The work convincingly traces the influences from early Indian asceticism to Zen Buddhism to the Japanese teahouse—the latter opening the door to modern minimalism. As the book’s title suggests, the protagonist of the narrative is the nondescript hermit’s hut. Relying primarily on Buddhist materials, the author provides a complex narrative that stems from this simple structure, showing how the significance of the hut resonates widely and how the question of dwelling is central to ascetic imagination. In exploring the conjunctions of architecture and asceticism, he breaks new ground by presenting ascetic practice as fundamentally an architectural project, namely the fabrication of a “last” hut. Through the conception of the last hut, he looks at the ascetic challenge of arriving at the edge of civilization and its echoes in the architectural quest for minimalism. The most vivid example comes from a well-known Buddhist text where the Buddha describes the ultimate ascetic moment, or nirvana, in cataclysmic terms using architectural metaphors: “The roof-rafters will be shattered,” the Buddha declares, and the architect will “no longer build the house again.” As the book compellingly shows, the physiological and spiritual transformation of the body is deeply intertwined with the art of building. The Hermit’s Hut weaves together the fields of architecture, anthropology, religion, and philosophy to offer multidisciplinary and historical insights. Written in an engaging and accessible manner, it will appeal to readers with diverse interests and in a variety of disciplines—whether one is interested in the history of ascetic architecture in India, the concept of “home” in ancient India, or the theme of the body as building. (shrink)

The Hermit’s Hut offers an original insight into the profound relationship between architecture and asceticism. Although architecture continually responds to ascetic compulsions, as in its frequent encounter with the question of excess and less, it is typically considered separate from asceticism. In contrast, this innovative book explores the rich and mutual ways in which asceticism and architecture are played out in each other’s practices. The question of asceticism is also considered—as neither a religious discourse nor a specific cultural tradition but (...) as a perennial issue in the practice of culture. The work convincingly traces the influences from early Indian asceticism to Zen Buddhism to the Japanese teahouse—the latter opening the door to modern minimalism. As the book’s title suggests, the protagonist of the narrative is the nondescript hermit’s hut. Relying primarily on Buddhist materials, the author provides a complex narrative that stems from this simple structure, showing how the significance of the hut resonates widely and how the question of dwelling is central to ascetic imagination. In exploring the conjunctions of architecture and asceticism, he breaks new ground by presenting ascetic practice as fundamentally an architectural project, namely the fabrication of a “last” hut. Through the conception of the last hut, he looks at the ascetic challenge of arriving at the edge of civilization and its echoes in the architectural quest for minimalism. The most vivid example comes from a well-known Buddhist text where the Buddha describes the ultimate ascetic moment, or nirvana, in cataclysmic terms using architectural metaphors: “The roof-rafters will be shattered,” the Buddha declares, and the architect will “no longer build the house again.” As the book compellingly shows, the physiological and spiritual transformation of the body is deeply intertwined with the art of building. The Hermit’s Hut weaves together the fields of architecture, anthropology, religion, and philosophy to offer multidisciplinary and historical insights. Written in an engaging and accessible manner, it will appeal to readers with diverse interests and in a variety of disciplines—whether one is interested in the history of ascetic architecture in India, the concept of “home” in ancient India, or the theme of the body as building. (shrink)

Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...) twenty years old and that it is more than a thousand years old. Two ontologies are considered that reconcile this paradox. A general lesson is also drawn, that ontology of art can profit from cross-cultural studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idealization of Contingency in Traditional Japanese AestheticsRobert Wicks (bio)In many popular writings that date from the initial decades of the twentieth century, and also in recent scholarly studies, "Japanese aesthetics"—insofar as we can speak sweepingly of a complicated, multidimensional, and dynamic historical phenomenon—is characterized with a set of adjectives whose present linguistic entrenchment is clearly evident. Specifically we read that traditional Japanese aesthetics is an aesthetics of imperfection, (...) insufficiency, incompleteness, asymmetry, and irregularity, not to mention perishability, suggestiveness, and simplicity.1 Given this collection of qualities, we are presented with a matching set of paradigmatic Japanese aesthetic experiences and objects, both as illustrations and as legitimations of this close-to-standard portrait. Examples include the suggestive moon covered by drifting clouds, the irregularly formed ceramics of ceremonial teacups, the simple and asymmetrical arrangement of unpolished rocks in the dry landscape garden, the bold and dashing monochromatic strokes typical of Zen calligraphy, transient cherry blossoms, serene and cloud-capped mountain summits, lonely thatched huts, sunsets in the foggy twilight, the call of a crane that breaks through the silence, and the light autumn rain that drizzles upon a secluded pond.Upon further reflection, it becomes noticeable that some familiar Japanese aesthetic objects do not easily conform to this standard picture, and this raises doubts about the typical characterization of Japanese aesthetics. The quintessentially Japanese shōji screens and tatami mats, for instance, are uniformly rectangular rather than irregular in form. They are, moreover, neither asymmetrical, nor imperfect, nor incomplete, nor insufficient. How then, can these perfectly regular screens and mats—items crucial to the aesthetics of Japanese domestic architecture—fit neatly into the usually encountered portrait of traditional Japanese aesthetics, if it is said to be fundamentally "the worship of imperfection"?2 Or similarly if "imperfection" is [End Page 88] the keynote of this aesthetics, how does one explain the meticulously raked surfaces of the dry landscape garden or the impeccably perfected movements requisite for performing the Japanese tea ceremony?3Since such examples do not obviously fit into an "aesthetics of imperfection and insufficiency," some reconsideration of the prevailing characterization of Japanese aesthetics is needed to accommodate these, along with other examples of "perfected" items and arrangements. In short, the main difficulty is that the concept of "perfection" has been underthematized.4 To develop a revaluation of the presently submerged status of "perfection" in most scholarly discussions of Japanese aesthetics, I will highlight the familiar principle of aesthetic complementarity but contextualize the experiential foundations of this principle in a specifically Japanese-philosophic manner, namely, in reference to a fundamental feature of time-consciousness, as described by Dōgen (1200-53). This historical grounding will align the principle of complementarity with some of the acknowledged Zen Buddhist sources of traditional Japanese aesthetics.5 The upshot will be that the above-cited collection of adjectives typically used to describe the prevailing atmosphere of Japanese aesthetics—imperfection, asymmetry, incompleteness, suggestibility, etc.—presents only half of the aesthetic and philosophic story and, moreover, tends to pass over what can be appreciated as a more consequential underlying concept, namely, the idea of "contingency."In what follows, basic reflections on the phenomenology of time-consciousness will lead to the claim that, in many paradigmatic instances of traditional Japanese aesthetics, we have before us a situation that is aptly describable as "the idealization of contingency." This involves the assertion of a philosophic proposition through an aesthetic presentation (i.e., the proposition is expressed using metaphor, symbolism, or analogy). In the case of traditional Japanese aesthetics, the main proposition is the Buddhist-associated one that the foundation of things is contingent, conditional, and nonabsolute (i.e., there are no absolute foundations). The aesthetic presentation of this proposition will, as we shall see, make ample room for "perfection" in understanding Japanese aesthetics: By means of juxtaposing contingent, perishable individuals (which usually have an "imperfect" appearance) against a perfected, polished, and idealized background, the contingency of the individuals is thereby aesthetically highlighted and made more readily appreciable.The resulting criticism of the standard characterization is thus a simple one: The typical group of concepts used to describe traditional Japanese aesthetics has neglected to give due... (shrink)

Similar to its old history, Japan has a rich traditional and ethical Architecture. Based on these tenets and ethics, different concepts and spaces are formed through the time, as now Japan's ethical and traditional design ideas has its standard principles. Linking the present and the past has always been a momentous criterion in the countries with an old rich Architecture. This fact is indeed important in Japan due to the blend of ethics and religions with peoples` life. Through this idea, (...) three Japanese Architects, Kenzo Tange, Fumihiko Maki and Tadao Ando-who are the only Japanese pritzker prize winners-have well, noticed the need for linking the country's traditional and ethical Architecture criteria with the contemporary Architecture. So, analyzing such projects of these architects prepares a good basis to find out the quality of how traditional and ethical design ideas crystallize in the works of contemporary Japanese architects. The research method for this article is a comparative analysis between the architects` particular projects and Japan's ethical and traditional design ideas, formed through the history of architecture in this country. The contents of this article rely heavily on three bases: 1) study of the historical documents concerning the ethical and traditional design concepts in Japan. 2) The consultancy of leading experts on Asian traditional constructions and ethical architecture specialists from Azad Universities in Tehran. 3) Comparative analysis between the ethical concepts applied in different contemporary works. The results show that the contemporary architects have had good bases for presenting the traditional design concepts as standard principles are all formed in the architecture of Japan today. Meanwhile, it seems that Maki and Ando are more likely to have a conceptual look at Japan's traditions while Tange has a more formal viewpoint. Chronological analysis of the architects` projects shows that despite, all the three architects were impressed by the works of le Corbusier, they were successful to keep contacts with Japan's traditional design concepts. (shrink)

In any focus on an aesthetic experience one may find both sensational and cognitive qualities, referred to as the scene and scenario respectively. Hence, an experiencer tries to decipher the scenario —a narration—by sensing the scene —space—through the spatial atmosphere. Thus, space starts to transform into a poetic experience. Japanese architecture, on account of a number of inherent qualities, has the capability to convey such narrations in spaces. In Japanese examples, an experiencer tries to derive the narration that emanates from (...) explicit qualities—sensational, such as textual, visual, audial, or tactile phenomena—with his/her implicit qualities—cognitive/intellectual abilities. The article examines the layer of narration of Japanese architectural structure through haiku 俳句 and haiga 俳画 examples, in doing so, utilizes the layers proposed on behalf of the explicit and implicit qualities: nature-based and feeling-based. (shrink)

Describing and defining what 'Japan style' is, this book explores specific achievements in Japanese art and architecture, offering an analysis of the Japanese culture, its vision of the world and of humankind.

The Japanese architect Shin Takamatsu gives industrial shapes to his buildings, making them both attractive and strange. His work renders the productive presence of industry in society visible, transforming it into a system of signs struggling with the environment to produce the image of an emergent “third nature”. Other attitudes have been taken by architects in relation to the environment and industry: functionalism and minimalism claim to exert the least possible violence on the environment, but they don’t build with it, (...) because they forget that architecture is first of all a threshold. (shrink)

人間は「生」を得た瞬間から「死」という「滅び」に向かって生きている。そうであるからこそ「生」を尊ぶという考え方が日本の美をつくってきた。日本の美意識の基層をなし、自然に美を見いだした「優美」。演技を七 分にとどめ、完全に演じ切らないことを説いた世阿弥の「幽玄」。慢心する秀吉を戒め、侘びることを説いた利休の「侘び」。旅の途中で寂びつくして命つきることを願った芭蕉の「さび」。西欧文化の影響が背景にある「 きれい」。そして、二一世紀に世界を席巻する「かわいい」とは―。日本の美の潮流を俯瞰し、心のふるさとに耳をすます。.

Abstract:Atmosphere in architecture acts as a communication tool between the space and its experiencers. This tool has the potential of being detached from the physical environment and conveyed by memories and imagination, which may augment the physical environment in a poetic way. This paper aims to demonstrate this potential by utilizing the technique of comparative reading using unmanipulated photographs of physical space, computer- generated film/images of the same space, and a spatial narration/text, all in the context of Japanese architecture. By (...) viewing this context from a lens focused on the intersection of aesthetics, phenomenology, and architecture, the study points out the possibility of utilizing atmosphere as a tool to convey ideas and augment the aesthetic experience through different techniques of representation. In this way, it highlights the importance of the narrative quality of spatial atmosphere in architectural design, and its potential as a transposable spatial identity. (shrink)

Thinking through the body: educating for the humanities -- The body as background -- Self-knowledge and its discontents: from Socrates to somaesthetics -- Muscle memory and the somaesthetic pathologies of everyday life -- Somaesthetics in the philosophy classroom: a practical approach -- Somaesthetics and the limits of aesthetics -- Somaesthetics and Burke's sublime -- Pragmatism and cultural politics: from textualism to somaesthetics -- Body consciousness and performance -- Somaesthetics and architecture: a critical option -- Photography as performative process -- Asian (...) ars erotica and the question of sexual aesthetics -- Philosophy as awakened life : everyday aesthetics of embodiment in American transcendentalism and Japanese Zen practice -- Somatic style. (shrink)

In this research, we proposed multi-robot system that has robustness to the change of environments and has adaptability to the change of tasks and number of robots. To implement them, we use parameter learning on subsumption architecture.The subsumption architecture control robots' fundamental behaviors and robots move continuously in principle.The optimal value of the parameter and the number of robot that does the task in field are searched by learning. As the result,the robot's action on the task is improved.Proposed system has (...) functions to recognize the task and to generate the recordation memory.And then robots adapt to the change of tasks and the number of robots.In this paper, the function of proposed system is tested in simulation experiments. (shrink)

The famous 1893 Chicago World’s Fair celebrated the dawn of corporate capitalism and a new Machine Age with an exhibit of the world’s largest engine. Yet the noise was so great, visitors ran out of the Machinery Hall to retreat to the peace and quiet of the Japanese pavilion’s Buddhist temples and lotus ponds. Thus began over a century of the West’s turn toward an Asian aesthetic as an antidote to modern technology. From the turn-of-the-century Columbian Exhibition to the latest (...) Zen-inspired designs of Apple, Inc., R. John Williams charts the history of our embrace of Eastern ideals of beauty to counter our fear of the rise of modern technological systems. In a dazzling work of synthesis, Williams examines Asian influences on book design and department store marketing, the commercial fiction of Jack London, the poetic technique of Ezra Pound, the popularity of Charlie Chan movies, the architecture of Frank Lloyd Wright, and the design of the latest high-tech gadgets. Williams demonstrates how, rather than retreating from modernity, writers, artists, and inventors turned to traditional Eastern technê as a therapeutic means of living with—but never abandoning—Western technology. (shrink)

This volume examines a variety of philosophical approaches that seek to formulate practical guidelines or norms for human actions and behavior in different areas of society, including politics, cultural traditions, the environment, business management, architecture, and medicine. Written by a team of international authors, this volume features thirteen surveys. It begins with an exploration of ethics in politics and cultural traditions. From genocide to the unequal distribution of wealth, it examines many of the harms that currently affect societies throughout the (...) world and considers a way that those in politics can follow to provide better care for all their populations. Next, the book looks at the relation between ethics and cultural traditions. It features a paper that examines the tension that often exists between the past and the present, with a special focus on the history of India. This volume also considers the idea of a universal system of ethics, presents a practical approach to value-based management in private and public organizations, and examines ethics in medicine. In addition, this volume includes coverage of a new type of ethics called Eco-ethica, proposed by the Japanese philosopher Tomonobu Imamichi, which seeks to answer the question of how men and women can live better or live together with each other in a systematized, technological age. (shrink)

This dissertation contextualizes the emergence of the Church of Light by Tadao Ando within the Japanese religio-philosophical tradition of nothingness. The idea of nothingness was revived during the first half of the twentieth-century by Kitaro Nishida with two cultural ramifications in the post-war period: a series of dialogues on the points of convergence and divergence between nothingness and the God of Christianity, and an architectural art movement called Monoha, or l'Ecole de Choses. Under the concept of "structuring emptiness," Monoha attempted (...) to restore perceptual depth where dichotomous semiotic representation is overcome through shintaisei, the co-originating corporeal fabric between the subject and object. This two-fold mapping, theological and architectural, not only illuminates the post-war cultural milieu from which Ando's church of spatial emptiness emerged, but also locates the church within the legacy of Nishida's nothingness. ;Nishida's philosophy of nothingness offers a perceptual theory of the "dialectic of self-negation" enacted by shintai, "the actively knowing body." Shintai is the agent of emptying selfhood by functioning as 'the sensational capacity to be filled by' the world. Shintai concretizes the perceptual matrix of co-emergence between the interiority of selfhood and the outside world. When its sensational capacity overflows, shintai enters into the realm of creative action to accommodate the surplus. The figure thus created is not a sign embodying subjective intentions, but constitutes the corporelly-inscribed, pre-reflective experiential datum of the world. Nishida called such a figure "the pure body of the artist," implying its apprehension not as the other in unknowable confrontation, but as the extended self. ;The dissertation examines how this notion of self-renunciatory perception through shintai opens a new hermeneutic horizon for the Church of Light. The church presents an unprecedented conjunction between emptiness, based on the reductive removal of signs, and the cross of light. This seemingly contradictory integration confronts the modern degradation of the cross into an atrophied sign of Christianity and seeks to retrieve its fully efficacious symbolic power. The emptiness contributes to the revival of a deeper communicative mode as shintai by negating the habituated perception pivoted upon the dichotomy between the deciphering subject and the semiotic elements. The perception of light, a natural thing rather than a sign, which infiltrates the cross, is a preliminary ritual to save the perception from the paradigm of the semiotic representation. Shintai, the self-emptying corporeality, resonates with and becomes penetrated by, rather than subjectivizes, the light. On this restored perceptual depth, the cross is perceived not as a sign, but as a part of the pre-reflective, ontological datum constructed and apprehended by shintai. This perceptual experience endorses the associational similarity between the pre-Christian datum predicated upon shintai as the agent of the self-renunciatory subjectivity and Christianity with its theology of the self-transcending love of kenosis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Knowing the EastPatti M. MarxsenKnowing the East. By Paul Claudel. Translated by James Lawler. Princeton, NJ: Princeton University Press, 2004. 136 pp.Fifty years after his death, Paul Claudel (1868–1955) is remembered for many things. Not only was he a major twentieth-century poet and playwright, he was an astute observer of Dutch, Spanish, and Japanese art. Not only was he the brother of sculptor Camille Claudel, he was a (...) diplomat who lived for nearly twenty years in Asia, including a stint as the French ambassador to Japan (1921–1927). When he was elected as a member of the Académie Française in 1946 at nearly 80 years of age he quipped, "For an academic, that is puberty." He died at 87, having lived large in two centuries and on three continents.Following an adolescence marked with indifference toward religion, Claudel experienced a profound conversion to Catholicism during a Christmas night service at Notre Dame Cathedral in Paris at the age of 18. With Christianity at the center of his universe and under the influence of Symbolist poets Rimbaud and Mallarmé, he developed a response to the world that was at once poetic and spiritual. Through his poetry, plays, and essays, he insisted on a fundamental unity between matter and spirit, a harmonious and vast universe into which the human mind could enter. And, at least for him, the point of entry was the portal of the Church. He struggled at times, but never lost sight of his faith. For all this, he is often credited with the revival of French Catholicism in the wake of WWI. After all, if Paul Claudel could take religion seriously and find meaning in it, pourquoi pas the rest of us?The facts of his extraordinary biography form a peculiar background to the recent translation by James Lawler of Claudel's collection of prose poems titled Knowing [End Page 229] the East. First published in 1946 as Connaissance de l'est, these sixty-one texts were written between 1895 and 1905 during Claudel's first visits to China and Japan as a young vice-consul stationed in Shanghai. He was twenty-six and still finding his poetic voice. And though his stance in the world is decidedly Christian, the content of this intriguing work reveals an inner dialogue with Buddhist ideas of interconnection, harmony, the ongoing quest for a higher life condition, and the overwhelming impact of nature in the lives of mere humans.In "Pagoda," Claudel describes a seven-story Chinese pagoda as it "amplifies and multiplies the roof, exaggerates the horned corners that rise with an elegant surge, and turns their curves upward to the sky." This form that "does away with walls" and concentrates on the uplifting roof creates a space where "Buddha, Prince of Peace, dwells inside with all the gods." In this architecture he reads a structuring of physical and spiritual space, a kind of never ending upward movement divided into "the seven mystical heavens." The culminating effect is the heavenly achievement of the unknowable. And so, after going as far as he can go into the world of the spirit, he ends this prose poem with an abrupt return to temporal reality. "I have no more to say of the Pagoda. I do not know its name."Elsewhere, in "The Wanderer," he turns his sense of awe toward nature. "Every tree has its personality, every small beast its role, every voice its part in the symphony," he writes. "As one understands music, so I understand nature, like a detailed narrative of proper names; as my walk and the day advance, so does the elaboration of the doctrine." The "doctrine," it seems, is the idea of dependent origination, the interrelation of all life that springs from a single source. In the last line, he states, "I understand the world's harmony. When will I grasp its melody?"In "The Temple of Consciousness" Claudel climbs "the black rock's vertical wall, and only at this late afternoon hour do I know myself to be on the right track." Below, he observes golden rice fields. Ahead there is an "old stairway overlaid with hoary moss... (shrink)

The mandala is a polysemantic term referring to several distinct yet interrelated architectural and imperial concepts. In addition to this com plexity, however, the mandala’s multivalency is further compounded by layers of nineteenth- and twentieth-century interpretations that have added reductionistic Jungian associations and/or anachronistic Orientalist expectations onto the image. This essay attempts to strip away such accretions and assumptions. It calls for the recognition of the variety and distinctiveness of early Japanese mandalas and aims to resuscitate the role of the (...) mandala in picturing, but not necessarily producing, enlightenment. As a result, this essay will attempt to return to basics and reconsider two key types of Japanese Buddhist mandalas on their own terms. Specifically, it will provide an iconographic and doctrinal analysis of the eighth-century Taima mandala of Amitābha/Amitāyus Buddha in his Pure Land of the Western Paradise. It will also examine the famous pair of ninth-century Two-World mandalas, which depict the Diamond and the Womb World aspects of Mahāvairocana Buddha, the cosmic buddha of great light who illumines all equally. The essay concludes with a final reflection on the Taima and Two-World mandalas, as both are unique examples and emblematic models for two distinct Japanese Buddhist worldviews. (shrink)

Western thinking has long been dominated by essence, by a preoccupation with that which dwells in itself and delimits itself from the other. By contrast, Far Eastern thought is centred not on essence but on absence. The fundamental topos of Far Eastern thinking is not being but 'the way' (dao), which lacks the solidity and fixedness of essence. The difference between essence and absence is the difference between being and path, between dwelling and wandering. 'A Zen monk should be without (...) fixed abode, like the clouds, and without fixed support, like water', said the Japanese Zen master Dōgen. Drawing on this fundamental distinction between essence and absence, Byung-Chul Han explores the differences between Western and Far Eastern philosophy, aesthetics, architecture and art, shedding fresh light on a culture of absence that may at first sight appear strange and unfamiliar to those in the West whose ways of thinking have been shaped for centuries by the preoccupation with essence. (shrink)

This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Lines can be physical phenomena, cognitive responses to observed processes, or both at the same time. Based on this assumption, the book describes the “philosophy of lines” in art, architecture, and science. The book compares Western and Eastern traditions. It examines lines in the works of Paul Klee, Wassily Kandinsky, and Henri Michaux, as well as in Chinese and Japanese art and (...) calligraphy. Lines are not merely a matter of aesthetics but also reflect the psychological states of entire cultures. In the nineteenth century, non-Euclidean geometry sparked the phenomenon of the “self-negating line,” which influenced modern art; it also prepared the ground for virtual reality. Straight lines, distorted lines, blurred lines, hot and cold lines, dynamic lines, lines of force, virtual lines, and on and on, lines narrate the development of human civilization. (shrink)

Routledge is running a monograph sale through June 11th. Readers can now access The Phenomenology of Real and Virtual Places free-of-charge for seven days then the eBook can be purchased for £10/$15. Go to the online tfstore kortext com and look for the book using: the-phenomenology-of-real-and-virtual-places-384647 (EPUB version) the-phenomenology-of-real-and-virtual-places-390649 (PDF version) or check attached hyperlinks below. ABSTRACT: This collection of essays explores the history, implications, and usefulness of phenomenology for the study of real and virtual places. While the influence of (...) phenomenology on architecture and urban design has been widely acknowledged, its effect on the design of virtual places and environments has yet to be exposed to critical reflection. These essays from philosophers, cultural geographers, designers, architects, and archaeologists advance the connection between phenomenology and the study of place. The book features historical interpretations on this topic, as well as context-specific and place-centric applications that will appeal to a wide range of scholars across disciplinary boundaries. The ultimate aim of this book is to provide more helpful and precise definitions of phenomenology that shed light on its growth as a philosophical framework and on its development in other disciplines concerned with the experience of place. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Durante la presencia española en el sudeste asiático se mantuvieron contactos con otros países de su entorno. Uno de ellos fue Japón. El archipiélago nipón cambió de dirigente tras la batalla de Sekigahara, estableciéndose tras ella una nueva dinastía que dirigiría al país hasta 1868, la familia Tokugawa. En los primeros años de este gobierno las relaciones con los españoles fueron cambiantes, pasando de una situación favorable a terminar rompiéndose. Es en esos primeros años se hallan Rodrigo de Vivero y (...) Sebastián Vizcaíno. Ambos personajes se entrevistaron tanto con Ieyasu como con Hidetada Tokuwaga. Vivero estuvo en Japón poco antes de que las relaciones entre ambas potencias se rompiesen; por su parte, Vizcaíno las vivió en primera persona. De sus estancias quedaron sus percepciones del país nipón recogidas en dos Relaciones manuscritas. El objetivo que aquí se persigue es analizar y exponer ordenadamente los datos extraídos de sus manuscritos acerca de las costumbres de los japoneses, su arte, su arquitectura, su estructura social, etc. desde el punto de vista de dos personajes que a diferencia de los misioneros no se involucraron en la sociedad japonesa. Palabras clave: Rodrigo de Vivero, Sebastián Vizcaíno, Japón, Tokugawa, Nueva España, Filipinas.During the Spanish presence in Southeaster Asia, contacts were maintained with other neighboring countries. One of them was Japan. The Japanese archipelago changed its leadership after the Battle of Sekigahara, establishing a new dynasty after it that would lead the country until 1868, the Tokugawa family. In the first years of this government relations with the Spanish were changing, going from a favourable situation to breaking up. It is in those early years that Rodrigo de Vivero and Sebastián Vizcaíno is found. Both characters interviewed both Ieyasu and Hidetada Tokuwaga. Vivero was in Japan shortly before relations between the two powers were broken; for his part, Vizcaíno lived that in the first person. From his stays remained his perceptions of the Japanese country collected in two manuscript Narrations. The objective pursued here is to analyze and orderly expose the data extracted from his manuscripts about the customs of the Japanese, their art, their architecture, their social structure, etc. from the point of view of two characters who, unlike the missionaries, were not involved in Japanese society. Key words: Rodrigo de Vivero, Sebastián Vizcaíno, Namban, Iberian century, Japan, Tokugawa, New Spain, Philippines. (shrink)

Aesthetics and arts are strongly linked across East Asia (China, Japan and Korea) and (through pottery and gardens) throughout Southeast Asia as well. This paper outlines eight aesthetic issues pertaining across arts in East Asia, appropriate for K-12: 1) the intimate interrelations among arts (gardens, painting, poetry, calligraphy, music, tea ceremony); 2) nature and the seasons (architecture, poetry, gardens, food); 4) collaboration (poetry, gardens, festivals, and tea ceremony); 5) self-cultivation; 6) symbolism versus allusion; 7) the importance of active imagination in (...) viewing East Asian arts; 8) relations of arts to philosophy. It then explores five areas of East Asian arts and aesthetics that are easy to teach even young students, have interest for high-school and college students (on the introductory or advanced level), and pave the way for the individual student's personal development throughout her life as an adult: 1) Writing Systems, Calligraphy and Painting; 2) Poetry and Painting; 3) Gardens; 4) Aesthetics of Pottery; 5) Tea ceremony. This is followed by brief discussion of 1) special categories of Japanese aesthetics (wabi and sabi, the aesthetics of loneliness and simplicity/impoverishment; kasuri, the embellishment of everyday objects; and aware, recognition of the poignance and brevity of life), 2) gender issues, 3) Zen aesthetics. The final section discusses five issues specifically related to teaching in districts where teaching about either Asia or arts/aesthetics might be in need of justification: 1) the conceptual, intellectual, emotional and artistic advantages for students in learning this material (developing the imagination, analytical skills, and concentration); 2) gender issues (including homosexuality and feminist aesthetics); 3) Asian religion in the classroom; 4) financing (inexpensive aesthetics projects); 5) Asian aesthetics for minority students. The bibliography includes books and articles for teachers and for students (at different levels), videos/ DVDs, and websites, including some guiding you to sites for field trips. (shrink)

Philosophical reflections on journeys and crossings, homes and habitats, have appeared in all major East Asian and Western philosophies. Landscape and travelling first emerged as a key issue in ancient Chinese philosophy, quickly becoming a core concern of Daoism and Confucianism. Yet despite the eminence of such reflections, Landscape and Travelling East and West: A Philosophical Journey is the first academic study to explore these philosophical themes in detail. Individual case studies from esteemed experts consider how philosophical thought about places (...) and journeys have inspired and shaped major intellectual and cultural traditions; how such notions concretely manifested themselves in Chinese art, particularly in the genres of landscape painting and garden architecture. The studies present a philosophical dialogue between Confucianism and Daoism on issues of social space and belonging and include discussion on travel and landscape in Buddhism as well as Japanese and Tibetan contexts. Approaching the topic from an inter-cultural perspectives, particularly East Asian philosophies, and using these to enrich contemporary reflections on space, the environment, and traversing, this unique collection adds an important voice to present philosophical, political, and cultural discourses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dynamic Encounters between Buddhism and the West ReportLaura Langone and Alexandra S. IlievaThe following is a summary of the 2021 Postgraduate Conference titled "Dynamic Encounters between Buddhism and the West," which took place online on June 28 and 29. The conference was conceptualized, organized, and run by three AHRC funded PhD students at the University of Cambridge: Laura Langone (Faculty of Modern and Medieval Languages); Alexandra S. Ilieva (Faculty (...) of Divinity); and Harry Harland (Faculty of Law). The conference took place over two days and featured eighteen presenters across six panels, and two keynote speakers. There were speakers from four continents (Europe, North America, Asia, and Oceania). A wide range of topics in multiple fields was discussed: religious studies, neuroscience, art history, politics, philosophy, literature, philology, mathematics, art, and music. Each day consisted of three panels, each with three presentations, one keynote presentation, and a networking session.The keynote speakers were Prof. Albrecht Classen (The University of Arizona) and Prof. Graham Parkes (University of Vienna).Prof. Classen opened the conference with his presentation. He taught us that we have been globalized and transcultural since at least the Middle Ages. To support this claim, he provided us with ample evidence of Buddhist-Western exchanges in Art and Literature dotted throughout the literature and architecture of Europe. Prof. Parkes observed that following Zen Master Dōgen's thought as well as Nietzsche's philosophy we can develop a saner approach to the environment, which provides us with resources to help us to tackle the challenges of the climate crisis.Our first panel was titled "Hellenistic-Buddhist Encounters," which followed on nicely from Prof. Classen's thesis that encounters between Buddhism and the West have been ubiquitous and have dated as far back as the Hellenistic period. Our second panel, "Encounters with the Contemporary World," were impressive examples of intercultural philosophy. Each participant demonstrated a unique ability to bring Buddhist ideas into dialogue with contemporary Western philosophy, specifically ethics, philosophy of mathematics, and epistemology. The third panel, titled "Therapeutic Encounters," taught us of the therapeutic value of Buddhist meditation and philosophical inquiry. As our presenters emphasized, this therapeutic value is not just an ancient artifact to be studied anthropologically, but a relevant and applicable approach to the modern idea of well-being that therefore deserves continued scholarship.On the second day, we started with our fourth panel called "Encounters through Western Conceptual Lenses," which among others gave us insight into the reception [End Page 393] of Japanese Buddhism by the German liberal protestants of the nineteenth century. Our fifth panel—"Encounters with German Philosophy"—was an excellent example of contemporary comparative work between Buddhist philosophy, ethics, and logic, and the German thinkers Hegel and Nietzsche.We learned that Nietzsche labeled Buddhism as nihilism––a position that can be challenged through Ambedkar's reading of Buddhism. On the other hand, despite Nietzsche's criticism of Buddhism, striking similarities between his approach to life and that of Mahāyāna Buddhism can be found, both elaborating a life-affirming philosophy. We also became familiar with similarities and differences between the logic of Nishida and Hegel. Finally, our last panel, "Literary and Artistic Encounters" made for a fitting conclusion, reminding us that Buddhist-Western encounters are ongoing, not just politically and intellectually but also in art, music, and literature. These encounters are dynamic in nature and fundamentally lacking in an essential core. Instead, they are entities that echo through the ages allowing for reinterpretation and reintegration across geographic and temporal scopes.Both during and after the conference we received extremely positive feedback from the participants. The level of participation and enthusiasm was highly promising, showing that the future of intercultural studies of this sort is bright. Graduate conferences like these are key for early career scholars to set up networks and find likeminded peers to engage in ongoing dynamic encounters.In conclusion, this conference served to highlight the sophisticated emerging scholarship taking place that seeks to investigate Buddhist-Western interactions and dialogue. But, perhaps more importantly, the conference itself makes a metapoint: not only has the world been transcultural for many centuries, but the conference itself and in particular the global spatial locations of... (shrink)

This paper makes three related points. First, Japan has played an instrumental role in helping to define the shape and substance of multilateralism in Asia in ways deeper than scholarly literature on Asia's regional architecture has allowed. A key driving force behind Japan's contributions is the perceived utility of multilateralism in facilitating Japan's engagement of and/or balancing against China. Second, Japan has been able to achieve this because of the United States' support for Asian multilateralism and Japanese security interests. In (...) the immediate post-Cold War period, Japan facilitated US participation in regional arrangements such as the Asia-Pacific Economic Cooperation and the ASEAN Regional Forum. But Japanese ambivalence over its dependence on the United States was also apparent in Tokyo's attempts to exclude Washington from the newly formed East Asia Summit in late 2005, despite Japan's felt need to balance China. Japan's reliance on quiet diplomacy and an implicit regional leadership has equally been instrumental to its achievements in regional integration. Third, in the light of Japan's longstanding aim to become a normal military power and adopt a more assertive policy toward China, Japan‒US security ties are likely to deepen with negative consequences for Asian multilateralism. However, if its ties with China and South Korea worsen over their islands disputes in the East China Sea, Japan risks undermining its relations with the United States. How Japan balances its normalization with a continued engagement with multilateralism could be key to a stable and secure Asia. (shrink)