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

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

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)

We propose a novel algorithm to transliterate English to Japanese and its application to a voice controlled browser, which enable ordinary Japanese people to browse English Web site by voice. Speech recognition software designed for native English speakers do not work for most Japanese because Japanese can't pronounce English as native English speakers do. Therefore, we combined Japanese speech recognition software with English-to-Japanese transliteration software. The accuracy of our transliteration algorithm is 80% recall for the top candidate, and 92% recall (...) for the top three candidates. The browser using this transliteration algorithm makes it possible for Japanese to navigate English Web pages almost as accurate as Japanese pages by voice commands. (shrink)

Recently, many opportunities have emerged to use the Internet in daily life and classrooms. However, with the growth of the World Wide Web (Web), it is becoming increasingly difficult to find target information on the Internet. In this study, we explore a method for developing the ability of users in information seeking on the Web and construct a search process feedback system supporting reflective activities of information seeking on the Web. Reflection is defined as a cognitive activity for monitoring, evaluating, (...) and modifying one's thinking and process. In the field of learning science, many researchers have investigated reflective activities that facilitate learners' problem solving and deep understanding. The characteristics of this system are: (1) to show learners' search processes on the Web as described, based on a cognitive schema, and (2) to prompt learners to reflect on their search processes. We expect that users of this system can reflect on their search processes by receiving information on their own search processes provided by the system, and that these types of reflective activity helps them to deepen their understanding of information seeking activities. We have conducted an experiment to investigate the effects of our system. The experimental results confirmed that (1) the system actually facilitated the learners' reflective activities by providing process visualization and prompts, and (2) the learners who reflected on their search processes more actively understood their own search processes more deeply. (shrink)

To apply reinforcement learning to difficult classes such as real-environment learning, we need to use a method robust to perceptual aliasing problem. The exploitation-oriented methods such as Profit Sharing can deal with the perceptual aliasing problem to a certain extent. However, when the agent needs to select different actions at the same sensory input, the learning efficiency worsens. To overcome the problem, several state partition methods using history information of state-action pairs are proposed. These methods try to convert a POMDP (...) environment into an MDP environment, and thus they are sometimes very useful. However, their computation cost is very high especially in large state spaces. In contrast, memory-less approaches try to escape from the aliased states by outputting actions stochastically. However, these methods output actions stochastically even in unaliased states, and thus the learning efficiency is bad. If we desire to guarantee the rationality in POMDPs, it is efficient to output actions stochastically only in the aliased states and to output one action deterministically in the other unaliased states. Hence, to discriminate between aliased states and unaliased states, the utilization of χ² -goodness-of-fit test is proposed by Miyazaki et al. They point out that, in aliased states, the distributions of the state transitions by random search and a particular policy are different. This difference doesn't occur owing to non-deterministic actions. Hence, if the agent can collect enough samples to implement the test, the agent can distinguish between aliased states and unaliased states well. However, such a test needs a large amount of data, and it's a problem how the agent collects samples without worsening learning efficiency. If the agent uses random search in the course of learning, the learning efficiency worsens especially in unaliased states. Therefore, in this research, we propose a new method called Extended On-line Profit Sharing with Judgement (EOPSwJ) to detect important incomplete perception, which doesn't need large computation cost and numerous samples. We use two criterions for detecting important incomplete perceptions to attain a task. One is the rate of transitions to each state, and the other is the deterministic rate of actions. We confirm the availability of EOPSwJ using two simulations. (shrink)

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

BackgroundThe concept of career identity is integral to nursing practices and forms the basis of the nursing professions. Positive career identity is essential for providing high-quality care, optimizing patient outcomes, and enhancing the retention of health professionals. Therefore, there is a need to explore potential influencing variables, thereby developing effective interventions to improve career identity.ObjectivesTo investigate the relationship between moral distress, moral courage, and career identity, and explore the mediating role of moral courage between moral distress and career identity among (...) nurses.DesignA quantitative, cross-sectional study.MethodsA convenient sample of 800 nurses was recruited from two tertiary care hospitals between February and March 2022. Participants were assessed using the Moral Distress Scale-revised, Nurses’ Moral Courage Scale, and Nursing Career Identity Scale. This study was described in accordance with the STROBE statement.Ethical considerationResearch ethics approval was obtained from the researcher’s university and hospital where this study was conducted prior to data collection.FindingsMoral distress is negatively associated while moral courage is positively associated with career identity among nurses. Moral courage partially mediates the relationship between moral distress and career identity ( β = −0.230 to −0.163, p < 0.01).DiscussionThe findings reveal a relationship between moral distress, moral courage, and career identity among nurses.ConclusionBy paying attention to nurses’ moral distress and courage, healthcare providers can contribute to the development of effective interventions to improve career identity, and subsequently performance, among nurses. (shrink)

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

Topics in Cognitive Science, Volume 14, Issue 2, Page 241-257, April 2022.

This paper proves that the division operation \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} $\lfloor a/m\rfloor$\end{document} is provably total in the system \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} $S_2^0$\end{document} of bounded arithmetic if and only if \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} $m$\end{document} is of the form \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} $2^n$\end{document} for some \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document} (...) $n$\end{document}. (shrink)

There is a task-specificity in the visual-tactile interaction for perception: The polymodal posterior parietal cortex is related to the comparison of the shapes coded by different sensory modalities, whereas the lateral occipital complex is the part of the network for multimodal shape identification. These interactions may be mediated by some latent pathways potentiated by sensory deprivation or learning.

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

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

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