In the chapter “Fit for Emperors and Kings,” the Chinese philosopher Chuang-tzu relates the myth of Hun-tun, the emperor of chaos, who died when the seven sense openings were bored into him. The story goes: Shu, the ruler of the Southern Sea, and Hu, the ruler of the Northern Sea, met in the realm of Hun-tun, the emperor of the Center, that is to say in the world of true reality that contradicted their own as being one of vast disorder. (...) Hun-tun received the two emperors warmly, and they both overcame their knowledge-based and conceptional consciousness, entirely forgot the evaluating, one-sided viewpoint of differentiation. Thus they enjoyed the world of true reality, the land of Hun-tun, Emperor Chaos. Subsequently the two guests wondered how they could possibly repay the kindness of Hun-tun. Concluding their consultation, they decided to present Hun-tun with seven openings — the sense doors of the eyes, ears, mouth, and nose. They duly proceeded to bore one opening into Hun-tun every day. However, on the seventh day, when he was finally becoming like a human being, Hun-tun died. (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)

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

Experiment with public deployment of the semantic service matchmaker to a UDDI registry for a year is described in this paper. UDDI is a standard registry for Web Services, but, its search functionality has been limited to a keyword search. Therefore, we propose an enhancement of UDDI, called Matchmaker, that supports semantic service capability discovery. Since September 2003, we have deployed the Matchmaker in one of four official UDDI registries operated by NTT-Communications. In this paper, we first introduce the Matchmaker, (...) and illustrate client tools which lower the threshold of use of semantics. Then, we evaluate this experiment by benchmarks in terms of its performance and functionality. Finally, we discuss user requirements obtained by two ways: questionnaire and observation of search behavior. (shrink)

This paper demonstrates an empirical analysis of the visual order of membership categories in a way consistent with both an early ethnomethodological research interest and recent arguments in membership categorization analysis. Early ethnomethodological studies have highlighted that we can infer and understand the membership categories of observed people about whom we have no information in advance, even without talking to them. Recent membership categorization analysts have argued the methodological importance of using video data. Given this, fictional films serve as video (...) data to advance the investigation into the visual order of membership categories since audiences do not know the fictional characters’ information in advance and cannot talk to them. We analyze how potential audiences understand fictional characters’ membership categories and how production crew members organize the visual and conversational order of membership categories. The analysis illustrates that our practical inferences of fictional characters’ membership categories are based on conversations among characters and visually available information. Such visually available information includes environments and lighting, as well as characters’ clothes, body orientations, facial expressions, and physical distance from each other. In other words, production crew members of fictional films design the visual and conversational order for remote audiences by arranging visually available information and fictional characters’ conversations. The findings provide insights into the “possible correctness” and “defeasibility” of membership categorization practices. Particularly regarding fictional characters’ membership categories, production crew members can employ the “possible correctness” and “defeasibility” of categorization practices to mislead audiences. (shrink)

Die Arbeit verbindet in subtiler Weise begriffsgeschichtliche, quellengeschichtliche, kontextanalytische und kompositionsanalytische Fragestellungen, um die schwierigen Probleme, die die Freiheitsantinomie der Kritik der reinen Vernunft aufwirft, einer Losung naherzubringen. Dabei wird deutlich, wie sehr Kants Freiheitsantinomie in ihrer Formulierung von den Diskussionen abhangt, die in dem Zeitraum zwischen Wolff und Tetens gefuhrt worden sind. Auch Kants beruhmte Dissertation des Jahres 1770 erscheint so in neuem Licht. Kants Freiheitsantinomie erweist sich als Antwort auf Fragen seiner unmittelbaren Vorganger. This work combines issues pertaining (...) to the history of concepts, historical sources, context analysis and composition analysis in order to try to solve the problems posed by the antinomy of freedom in the Critique of Pure Reason. The study makes it clear how much the wording of Kant's antinomy of freedom depends on the discussions held during the time between Wolff and Tetens. Kant's famous dissertation of 1770 is thus also seen in a new light. Kant's antinomy of freedom is shown to be the answer to the questions posed by his direct predecessors. (shrink)

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)

This paper investigates how the reader of prose fiction fills in the blanks regarding a fictional character’s membership category, action, and reason for the action. Aligning with an ethnomethodological approach to texts and appropriating membership categorization analysis (MCA), we analyze how the readers of J. D. Salinger, an author whose works are well known for their ambiguity and ambivalence, would grasp the unwritten identities of characters and the meanings of their actions. Our analysis specifies two types of methods deployed for (...) the reader to understand the fictional texts. First, in an at-a-glance way, the reader can supply the missing categories and sequence of actions by turning to the commonsense knowledge and social norms regarding the association between the category and the activity. Second, the reader can construct various interpretations regarding the recognizably ambiguous scenes of the text by turning to the conceptual knowledge of the relevant social phenomena, the maxims specific to the act of storytelling, and the writer’s techniques peculiar to the fictional texts. The findings demonstrate the vast applicability of an MCA approach to the analysis of the work of reading prose fiction and shed light on the detailed operations of the author’s maxims and techniques in the textual configuration of prose fiction, thereby indicating the possibility of ethnomethodological analysis including the interwoven consideration of the reader’s activity and the textual organization. (shrink)

This paper studies information transmission between an uninformed decision maker and an informed agent who have asymmetric beliefs on the sender’s ability to observe the state of nature. We find that even when the material payoffs of the players are perfectly aligned, the sender’s over- and underconfidence on his information give rise to information loss in communication, although they do not by themselves completely eliminate information transmission in equilibrium. However, an underconfident sender may prefer no communication to informative communication. We (...) also show that when the sender is biased, overconfidence can lead to more information transmission and welfare improvement. (shrink)

Der Leipziger Pietist Chr. A. Crusius setzt sich mit dem von Leibniz und Wolff festgelegten „Satz vom zureichenden Grund“ auseinander, nach dem nicht nur jedes Naturgeschehnis, sondern auch jede Handlung des Menschen a priori determiniert zu verstehen ist. Zunächst kritisiert Crusius die Vieldeutigkeit des Begriffs „Grund“, wo er zunächst zwischen „Realgrund“ und „Erkenntnisgrund“ unterscheidet, und weiterhin ersteren in „wirkende Ursache“ und „Existentialgrund“, und letzteren in „Erkenntnisgrund a priori“ und „Erkenntnisgrund a posteriori“ einteilt. Nach Crusius hat menschliche freie Handlung keinen eindeutig (...) determinierenden Grund, sondern nur wirkende Ursache, die jeder seinerseits ablehnen kann. Crusius gründet seinen Freiheitsbegriff auf die Wahrscheinlichkeitslehre, nach der freie Handlungen wegen der Endlichkeit des Menschen nur a posteriori erkannt werden. In meinem Beitrag versuche ich zu zeigen, dass im Freiheitsbegriff von Crusius, der „Grundtätigkeit der Freiheit“, ein Muster der Vereinbarkeit von der empirisch orientierten Freiheit und dem Determinismus einzusehen ist. (shrink)