yamato sharply distinguishes itself from other existing upper ontologies in the following respects. Most importantly, yamato is designed with both engineering and philosophical minds. yamato is based on a sophisticated theory of roles, given that the world is full of roles. yamato has a tenable theory of functions which helps to deal with artifacts effectively. Information is a ‘content-bearing’ entity and it differs significantly from the entities that philosophers have traditionally discussed. Taking into account the modern society in which a (...) flood of information occurs, yamato has a sophisticated theory of informational objects. Quality and quantity are carefully organized for the sake of greater interoperability of real-world data. The philosophical contribution of yamato includes a theory of objects, processes, and events. Those features are illustrated with several case studies. These features lead to the intensive application of yamato in some domains such as biomedicine and learning engineering. (shrink)

The goal of this paper is two-fold: first, to emphasize causality in disease ontology and knowledge representation, presenting a general and cursory discussion of causality and causal chains; and second, to clarify and develop the River Flow Model of Diseases (RFM). The RFM is an ontological account of disease, representing the causal structure of pathology. It applies general knowledge of causality using the concept of causal chains. The river analogy of disease is explained, formal descriptions are offered, and the RFM (...) disease definition is refined by describing causal chains in terms of causal relations. The definition is updated to coincide with the actual RFM classes found in its upper-level ontology, YAMATO, which brings to light some challenges in developing both YAMATO and the RFM. The RFM is also discussed in relation to another ontological account of disease. Strategies are offered toward interoperability between these theories. (shrink)

This special issue of Applied Ontology is devoted to the foundation, the comparison and the application of functional theories in all areas, with particular attention to the biological and engineering domains. It includes theoretical and technical contributions related to the description, characterization, and application of functions.

Humans are always interested in distinguishing natural and artificial entities although there is no sharp demarcation between the two categories. Surprisingly, things do not improve when the second type of entities is restricted to the arguably more constrained realm of physical technical artifacts. This paper helps to clarify the relationship between natural entities and technical artifacts by developing a conceptual landscape within which to analyze these notions. The framework is developed by studying three definitions of technical artifact which arise from (...) different perspectives. All these perspectives share two intuitions: that technical artifacts are physical objects that exist by human intervention; and that technical artifacts are entities to be contrasted to natural entities. Yet the perspectives are different in the way they spell out these intuitions: the relevant human intervention may range from intentional selection to intentional production; and the contrast between technical artifacts and natural entities may be introduced by a constitution relation or by defining properties that set technical artifacts apart. The three perspectives are compared and their similarities and dissimilarities are explored with the help of ontological analysis. (shrink)

本书包括《中国的公与私》和《公私》两部作品。《中国的公与私》由6篇文章会集而成;《公私》则是一篇较长的论文,对“公私”概念进行辞源性阐释.

This chapter examines when and how mental simulation--the consideration of alternatives to present reality--produces emotional responses that reflect either contrast or assimilation. The chapter begins with a description of a comparison domain that is most commonly associated with mental simulation--counterfactual thinking. Then the authors consider how mental simulation plays a critical role in determining assimilative and contrastive responses to other type of comparisons. The chapter concludes with a presentation of a model of mental simulation-based comparison processes and describe its relationship (...) to other contemporary comparison models. (shrink)

SOCREAL 2013 : 3rd International Workshop on Philosophy and Ethics of Social Reality 2013. Hokkaido University, Sapporo, Japan, 25-27 October 2013. Session 4 : Agency, Responsibility, and Intentionality.

Ben shu tong guo dui yu Li Zhuowu he Yangming xue de chan shi, dui yu Zhongguo qian jin dai bu tong yu xi fang de lu xiang jin xing le bian xi, ren wei"zai Zhongguo si xiang zhong cun zai zhe bu tong yu Ouzhou si xiang shi de zhan kai de Zhongguo du zi de si xiang shi de zhan kai", fan dui yi ban chang jian de, yi Ouzhou de li shi zhan kai he jia zhi guan (...) wei ji zhun de xi fang zhong xin lun li shi guan, cong er zai Zhongguo nei zai de si xiang li lu zhong xun zhao Zhongguo de"jin dai"ji qi"qu she yu fa zhan"; ta hai da po le zai Riben tong xing de dui yu Li Zhuowu tong xin shuo shi ge ren zhu yi biao xian de fu qian shuo fa, ba Li Zhuowu wan qi de fu za si xiang, te bie shi fo jiao si xiang zai ta shen shang de du te ti xian tui xiang dui yu ming dai si xiang ben shen de jie shi. (shrink)

According to regulatory fit theory (Higgins, 2000), when people make decisions with strategies that sustain their regulatory focus orientation, they “feel right” about what they are doing, and this “feeling-right” experience then transfers to subsequent choices, decisions, and evaluations. The present research was designed to link the concept of regulatory fit to functional accounts of counterfactual thinking. In the present study, participants generated counterfactuals about their anagram performance, after which persistence on a second set of anagrams was measured. Under promotion (...) framing (i.e., find 90% or more of all the possible words) upward counterfactual thinking in general elicited larger increases in persistence than did downward counterfactual thinking in general, but under prevention framing (i.e., avoid failing to find 90% or more of all the possible words) upward evaluation (comparing reality to a better reality) elicited larger increases in persistence than did upward reflection (focusing on a better reality), whereas downward reflection (focusing on a worse reality) elicited larger increases in persistence than did downward evaluation (comparing reality to a worse reality). In all, the present findings suggest that the generation of counterfactuals enhances the likelihood that individuals will engage in courses of action that fit with their regulatory focus orientation. (shrink)

This article is an attempt to rethink the terms on which we understand cinematic realism. Cinema's very success in recording reality problematises the notion of reality by which ?realism? has otherwise been oriented. This is because the world of the age of cinema is a plurality of worlds, with the times and places captured on film competing for credibility. It is not a question, epistemologically, of discovering the real world so much as, ethically, relearning the art of being embodied. Bazin (...) and Mizoguchi are two figures from the middle of the twentieth century who confronted the open-ended challenge of cinematic realism and whose works provide the impetus for reflecting anew on what it means to exist bodily in an advanced technological society. (shrink)

This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite (...) nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori. (shrink)

Cinema is commonly hailed as "the universal language," but how does it communicate so effortlessly across cultural and linguistic borders? Drawing on a lifetime's worth of viewing an reviewing, influential critic Gilberto Perez invokes a dizzying array of masters past and present includin Chaplin, Ford, Kiarostami, Eisenstein, Malick, Mizoguchi, Haneke, Hitchcock, and Godard--to explore the transaction between filmmaker and audience. The Eloquent Screen shows how cinema, as the consummate contemporary art form, establishes a thoroughly modern rhetoric in which different (...) points of view are brought into clear focus.". (shrink)

Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an ‘uncinematic’ element in the negation of movement in modern cinema, ‘which constitutes its artistic character’. Similarly, Lyotard defended an ‘acinema’, which rather than selecting and excluding movements through editing, accepts what is ‘fortuitous, dirty, confused, unclear, poorly framed, overexposed’. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an ‘impure circulation’ that incorporates the other arts. Resonating with Bazin (...) and his defence of ‘impure cinema’, that is, of cinema's interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film, whose anti-cinema stance in announced in its own title; and The Mirror, another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchi's deconstruction of cinematic acting in his exploration of the geidomono genre in The Story of the Last Chrysanthemums, and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing. (shrink)

La vie et l'art? Quel lien d'authenticité peut-on dresser de l'un à l'autre? Où cesse la représentation et où commence l'incarnation? Quand le vécu prend-il chair? C'est à ces questions que répond le philosophe Patrice Guillamaud dans un traité d'esthétique fondamentale où le cinéma apparaît non pas comme la synthèse des arts, mais l'art en son essence. Ce postulat repose sur un double paradoxe. A la fois affect et relativisation, la vie intérieure est aspiration à l'absolu et renoncement à l'absolu, (...) sortie de soi qui reste paradoxalement en dedans de soi. Ainsi, cette vie, cette extase interne procède par renonciation. Or, l'art qui incarne par excellence la vie renonciatrice, c'est le cinéma. Dans la mesure où il se veut art de l'espace, mais englobé et dynamisé par le temps, le cinéma est la réalité charnelle de cette extase interne, en tant qu'absolu de la renonciation. Passant de Renoir à Dreyer, de Mizoguchi à Godard, Patrice Guillaumaud montre pourquoi et comment se tient là, universelle, la vérité des grandes oeuvres cinématographiques. Une relecture spéculative du VIIe art qui passe également en revue les grandes interrogations métaphysiques. (shrink)