This edited volume is the first in English that covers the philosophy of feeling and related topics in Japanese philosophy on Nishida Kitarō and fellow thinkers. Part I focuses on Nishida Kitarō’s philosophy of feeling, including, but not limited to, comparisons with Tanabe Hajime, Koyama Iwao, and provides coverage of Buddhist, moral and Chinese philosophy. Part II goes beyond Kitarō into topics such as Japanese aesthetics, Nietsche’s reception in Japan, and the philosophy of AI. This is a comprehensive scholarly text (...) on feeling in Japanese philosophy, aimed at researchers and students working in the field. (shrink)

The question of the existence of cultural universals immediately leads us to the problem of intercultural communication and of so-called incommensurability. Over the last few decades, these topics have been the subject of controversy in the philosophy of science, and the stock of universalism has been falling as a result of the rise of Kuhn’s paradigm theory and Quine’s thesis of the indeterminacy of translation. Nowadays cultural pluralism or relativism is rather dominant among philosophers and has begun to appear plausible, (...) too, from an anthropological or sociological point of view. But philosophically, as is well known, relativism harbors many difficulties and paradoxes. As philosophers, therefore, we cannot accept imprudent relativism just as it is. (shrink)

The severe accident at the Fukushima-Daiichi nuclear power plant caused by the March 11 Great East Japan Earthquake in 2011 was a typical disaster in the age of “trans-science,” which means the situation that science and politics are closely connected and inseparable. The stage of trans-science requires a philosophy of trans-science instead of a philosophy of science such as logical positivism. I would like to characterize norms for techno-scientists in the risk society as RISK, which includes Regulatory deliberation, Intergenerational ethics, (...) Social accountability and Knowledge-product liability. (shrink)

はたして科学は万能なのか。19世紀以来の「科学主義」は、現在なお「自然主義」の衣を纏って生き続けている。本書は「科学主義」と「反科学主義」をともに退け、科学を自然というテクストを解読する解釈学的営みと して捉え直す。ハンソンとクーンの「新科学哲学」、クワインの「知識の全体論」、ウィトゲンシュタインの「アスペクト論」を手がかりに、科学哲学に「科学的理性批判」という本来の哲学的課題を担わせることを目指す 。ここに新たに論文3篇を加え、サイエンス・ウォーズや実在論/反実在論など、現代の哲学状況と切り結ぶスリリングな論考。.

古代・中世のアリストテレス的自然観を克服し、信仰や迷信から独立することで17世紀に近代「科学」は誕生した。しかしパラダイム転換はくり返され、20世紀には科学技術に伴うリスクも叫ばれるようになる。科学哲 学の第一人者がこうした決定的な転換点に光をあてながら、知の歴史のダイナミズムへと誘う。科学神話が揺らぐ今だからこそもう一度深く掘り下げる、入門書の決定版。.

はたして科学は万能なのか。19世紀以来の「科学主義」は、現在なお「自然主義」の衣を纏って生き続けている。本書は「科学主義」と「反科学主義」をともに退け、科学を自然というテクストを解読する解釈学的営みと して捉え直す。ハンソンとクーンの「新科学哲学」、クワインの「知識の全体論」、ウィトゲンシュタインの「アスペクト論」を手がかりに、科学哲学に「科学的理性批判」という本来の哲学的課題を担わせることを目指す 。ここに新たに論文3篇を加え、サイエンス・ウォーズや実在論/反実在論など、現代の哲学状況と切り結ぶスリリングな論考。.

The March 11, 2011, Great East Japan Earthquake caused extensive damage to the Tōhoku district of Japan and gave rise to many arguments concerning the meaning of “disaster” as well as the road to recovery. In particular, the severe accident of the Fukushima-Daiichi nuclear power plant reminded us of the overconfidence of science and technology. In this article, I will discuss concepts such as “disaster of civilization,” “impermanence,” “betweenness,” and the double structure of the Japanese view of nature.

新型コロナ対策でも注目された科学者の倫理とは? AI時代に科学とどう向き合うべきか? 最先端の研究をわかりやすく解説する。.

Correspondence: Alva Noë, Department of Philosophy, University of California, Berkeley CA 94720-2390, USA. _Email: [email protected]_ Evan Thompson, Philosophy Department, York University, 4700 Keele Street, North York, Ontario, M3J 1P3, Canada. _Email: [email protected]_.

Some cognitive states — e.g. states of thinking, calculating, navigating — may be partially external because, at least sometimes, these states depend on the use of symbols and artifacts that are outside the body. Maps, signs, writing implements may sometimes be as inextricably bound up with the workings of cognition as neural structures or internally realized symbols (if there are any). According to what Clark and Chalmers [1998] call active externalism, the environment can drive and so partially constitute cognitive processes. (...) Where does the mind stop and the rest of the world begin? If active externalism is right, then the boundary cannot be drawn at the skull. The mind reaches – or at least can reach --- beyond the limits of the body out into the world. (shrink)

Many educators today think that the school's lessons and activities do not stimulate or engage students' imaginations. In order to alleviate this problem, they tend to use images in conjunction with, or sometimes rather than, words; they employ so-called imaginative or creative activities rather than chalk and talk. However, these principles and methods are based on somewhat misguided or trivial understanding of the importance of imagination in students' lives. Dewey's understanding of the relevance of imagination gives us a useful perspective (...) to better understand where imaginative engagement becomes crucial in education. (shrink)

A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new (...) approach. (shrink)

"Perception is not something that happens to us, or in us," writes Alva Noe. "It is something we do." In Action in Perception, Noe argues that perception and perceptual consciousness depend on capacities for action and thought — that ...

_Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching (...) the readers understanding of art theory as well as the appreciation of art. Unique features of the textbook are: * chapter summaries * summaries of major theories of art and suggested analyses of the important categories used when talking and thinking of art * annotated suggested readings at the ends of chapters. Also available in this series: _Epistemology_ Pb: 0-415-13043-3: £12.99 _Ethics_ Pb: 0-415-15625-4: £11.99 _Metaphysics_ Pb: 0-415-14034-X: £12.99 _Philosophy of Mind_ Pb: 0-415-13060-3: £11.99 _Philosophy of Religion_ Pb: 0-415-13214-2: £12.99. (shrink)

Introduction: free presence -- Conscious reference -- Fragile styles -- Real presence -- Experience of the world in time -- Presence in pictures -- On over-intellectualizing the intellect -- Ideology and the third realm.

Study of Vaiśeṣika philosophy with special reference to Vaiśeṣikadaśapadārthaśāstra.

This paper investigates the idea that perception can be, at once, a mode of direct awareness of the world and an encounter, in the first instance, with mere appearances. In developing this point, I introduce a sensorimotor account of perception according to which the senses are ways of exploring the environment mediated by different patterns of sensorimotor contingency (i.e. by the distinctive ways in which what the perceiver does affects how things appear).

Opposing Viewpoints is the leading source for libraries and classrooms in need of current-issue materials. The viewpoints are selected from a wide range of highly respected sources and publications.

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

Die blosse Redensart "ich nehme x wahr" ist schon aus der physikalischen Ausdrucksweise genommen und x soll hier ein physikalischer Gegenstand—z.B. ein Körper—sein. Es ist schon falsch, diese Redeweise in der Phänomenologie zu verwenden, wo dann x ein Datum bedeuten muss. Denn nun kann auch "ich" und "nehme wahr" nicht den Sinn haben, wie oben.