The key mutation of the schizophrenic psyche can be described as a disturbance of the first person-ness of the I-sense, i.e., of the sense of the "I" as personal subject of experience and of action. Under these circumstances, representations of things are not definitively experienced as "my" representations—with the self-evidence of belonging to me. This uncertainty of selfhood, specific to schizophrenia, cannot be reduced to a disability of intellect, logic, judgment, or memory. In the course of developing his argument, the (...) author criticizes philosopher Michel Henry's critique of Heidegger's (1961) interpretation of Descartes's cogito ergo sum. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 107-114 [Access article in PDF] A Comparative Study of Artistic Play and Zoukei-Asobi[Tables] "Artistic Play" and "Zoukei-Asobi" Recently, I found an article in Art Education which led me to believe that "artistic play" is not as popular among North America art educators as it is in Japan. 1 For Japanese art educators, especially at the elementary level, this word is well-known as (...) a key term. In Japanese we say "zoukei-asobi." "Zoukei" means "plastic arts activities" and "Asobi" means "playing." I recognized that the basic concept of "artistic play" has something in common with that of "zoukei-asobi." In this article I will identify this as "J-artistic play." The aim of this essay is to compare the meaning of "J-artistic play" by studying its use in Japan and the United States. The Curriculum Guidelines for Art Education in Japan Before considering J-artistic play, I should explain the national guideline for art education in Japan, since the objectives and contents of J-artistic play are prescribed by this guideline. We have had a national guideline since 1872 though this has changed drastically to resemble the American model after World War II. The subject corresponding to "Visual Art" in the elementary school is "Art and Handicraft (Zuga-Kousaku)." "Zuga" means drawing and painting, "Kousaku" means design and craft. The current guideline is divided into three parts (I-III) as shown in Table 1.The first shows a general goal of art education in the elementary school. The second describes the objectives and contents of each grade. The third indicates some key points of teaching for teachers. In the elementary school the curriculum sequence falls into three steps. The content is divided into the two areas ("Hyougen" and appreciation), and Hyougen is divided further into "artistic play" and "art-making." [End Page 107] [Begin Page 110]I should make some comments on Hyougen. In this guideline, Hyougen is used both as expression and representation. In traditional Japanese aesthetic consciousness, "expression, representation, and decoration" constitute a kind of trinity. The concept of J-artistic play was introduced into the national guidelines for art education in1977. 2 At first, this was available only for grades 1 and 2 in the elementary school, but since 1998 the concept has been extended to grades 1 and 6, as shown in Table 1. About the Property of J-artistic Play The activities in J-artistic play do not refer to any traditional art forms, such as painting, sculpture, or handicraft, nor are they derived from any specific art forms. In fact, the purpose for the introduction of this concept into the national guideline is to protect children from falling into conventional ways of representation as found in the traditional art forms. The promoters of J-artistic play thought that the preconceived ideas found in such existing art forms, such as painting might depress children's spontaneous and free expression. Some concepts from contemporary art, such as performance art, have also influenced J-artistic play.As Eliza Pitri said, "Play is spontaneous and voluntary. It is not obligatory but is freely chosen by the player." Though schooling is compulsory and a student cannot choose it independently, advocates of J-artistic insist that the character of "play" in the school curriculum should be an original and undifferentiated form of learning. One of the advocates of J-artistic play explains the significance of artistic play as an operation of integrated intelligence. 3 Artistic play is different in function from ordinary expressing activities. Ordinary expressing activity works with a blank drawing paper as sterile space, conditioned, virtual...laboratory. Contrarily artistic play works with raw materials, living places, and real environments, and is composed of organized and integrated formative activity by working on the subjects that make conditions for human, objective, and phenomenal interaction. Reorganization of intelligence and the opportunity for acquiring new intelligence are embedded in the activities that work interactively. Here we note that children will learn a reality from the interaction between the person and his... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 107-114 [Access article in PDF] A Comparative Study of Artistic Play and Zoukei-Asobi[Tables] "Artistic Play" and "Zoukei-Asobi" Recently, I found an article in Art Education which led me to believe that "artistic play" is not as popular among North America art educators as it is in Japan. 1 For Japanese art educators, especially at the elementary level, this word is well-known as (...) a key term. In Japanese we say "zoukei-asobi." "Zoukei" means "plastic arts activities" and "Asobi" means "playing." I recognized that the basic concept of "artistic play" has something in common with that of "zoukei-asobi." In this article I will identify this as "J-artistic play." The aim of this essay is to compare the meaning of "J-artistic play" by studying its use in Japan and the United States. The Curriculum Guidelines for Art Education in Japan Before considering J-artistic play, I should explain the national guideline for art education in Japan, since the objectives and contents of J-artistic play are prescribed by this guideline. We have had a national guideline since 1872 though this has changed drastically to resemble the American model after World War II. The subject corresponding to "Visual Art" in the elementary school is "Art and Handicraft (Zuga-Kousaku)." "Zuga" means drawing and painting, "Kousaku" means design and craft. The current guideline is divided into three parts (I-III) as shown in Table 1.The first shows a general goal of art education in the elementary school. The second describes the objectives and contents of each grade. The third indicates some key points of teaching for teachers. In the elementary school the curriculum sequence falls into three steps. The content is divided into the two areas ("Hyougen" and appreciation), and Hyougen is divided further into "artistic play" and "art-making." [End Page 107] [Begin Page 110]I should make some comments on Hyougen. In this guideline, Hyougen is used both as expression and representation. In traditional Japanese aesthetic consciousness, "expression, representation, and decoration" constitute a kind of trinity. The concept of J-artistic play was introduced into the national guidelines for art education in1977. 2 At first, this was available only for grades 1 and 2 in the elementary school, but since 1998 the concept has been extended to grades 1 and 6, as shown in Table 1. About the Property of J-artistic Play The activities in J-artistic play do not refer to any traditional art forms, such as painting, sculpture, or handicraft, nor are they derived from any specific art forms. In fact, the purpose for the introduction of this concept into the national guideline is to protect children from falling into conventional ways of representation as found in the traditional art forms. The promoters of J-artistic play thought that the preconceived ideas found in such existing art forms, such as painting might depress children's spontaneous and free expression. Some concepts from contemporary art, such as performance art, have also influenced J-artistic play.As Eliza Pitri said, "Play is spontaneous and voluntary. It is not obligatory but is freely chosen by the player." Though schooling is compulsory and a student cannot choose it independently, advocates of J-artistic insist that the character of "play" in the school curriculum should be an original and undifferentiated form of learning. One of the advocates of J-artistic play explains the significance of artistic play as an operation of integrated intelligence. 3 Artistic play is different in function from ordinary expressing activities. Ordinary expressing activity works with a blank drawing paper as sterile space, conditioned, virtual...laboratory. Contrarily artistic play works with raw materials, living places, and real environments, and is composed of organized and integrated formative activity by working on the subjects that make conditions for human, objective, and phenomenal interaction. Reorganization of intelligence and the opportunity for acquiring new intelligence are embedded in the activities that work interactively. Here we note that children will learn a reality from the interaction between the person and his... (shrink)

科学技術の発展とともに、バイオエシックスはいつも新しい課題に直面し、挑戦し続けている。このバイオエシックスの軌跡を「環境・自然」、「こどもの医療」、「生死の決断」等、私たちのいのちに関わる重要なテーマ に焦点をあてて検討、考察し、問題解決への提言を行った。.

Chef de file de la réflexion psychiatrique au Japon, le Professeur Kimura Bin s’oppose dans cet article aux réductionnismes physicalistes en découvrant au coeur de la subjectivité une articulation complexe entre le personnel et l’impersonnel qui simultanément confirme la conception spirituelle zen de la constitution de l’individualité et donne une base à la fondation d’une science psychiatrique véritable. Il démontre que l’orientation donnée par les sciences cognitives et la philosophie analytique conduit à ignorer la différence entre réalité et actualité, (...) et occulte ainsi le fait que chaque existant est unique, manquant de la sorte à la fois son unité et son unicité. Pour retrouver l’originalité propre à chacun, Kimura propose d’en retrouver l’originarité, esquissée dans le concept heideggérien de Befindlichkeit, et d’élargir la subjectivité au sens proposé par Victor von Weizsäcker en tant que rencontre avec le milieu. Il conclut cette étude phénoménologique en proposant de fonder une psychopathologie en première personne, c’est-à-dire d’introduire la subjectivité dans la science psychiatrique, seule voie pour comprendre l’existence et résoudre l’énigme de la schizophrénie. (shrink)

倫理学・仏教学・美術史・近代文学など多分野の気鋭の専門家たちが、近代日本の精華・和辻哲郎の学問の現代的意義を検証する。.

Volume 20, Issue 8, August 2020, Page 32-36.

For genetic algorithms, it is important to maintain the population diversity. Some genetic algorithms have been proposed, which have an ability to control the diversity. But these algorithms use the distance between two individuals to control the diversity. Therefore, these performances become worse on ill-scaled functions. In this paper, we propose a new genetic algorithm, DIDC(a genetic algorithm with Distance Independent Diversity Control), that does not use a distance to control the population diversity. For controlling the diversity, DIDC uses two (...) GAs that have different natures. For realizing different natures, one GA uses a crossover operator as a search operator, and the other GA uses a mutation operator in DIDC. By applying DIDC to several benchmark problems, we show that DIDC has a good performance on high dimensional, multimodal, non-separable and ill-scaled problems. Finally, we show that the control parameter of DIDC has the same effect on the search with the number of generating children n c. (shrink)