In the vision of the semantic web, agents are defined as the programs that collect information from diverse sources, process the information, and exchange the results with other programs. In order to extend application areas of the agents from the Internet to the real world, we propose CONSORTS, a multiagent architecture for content managements in ubiquitous computing. In this paper, we, first, describe two important concepts in order to realize the agent-based content managements in ubiquitous computing, ``physically grounding'' and ``cognitive (...) resources managements.'' Second, we describe the outline of the CONSORTS and its RDF-based spatial information representation. Finally, we show an application of the CONSORTS, context-aware information assist services in a museum. (shrink)

Le présent essai soutient une position qui s’inscrit dans le courant dit « libertarien » tout en explorant les implications de la politique qui prône un revenu de base et suscite présentement un débat vivace à travers le monde, y compris au Japon. Il existe diverses formes d’éthique libertarienne. Ici, dans la lignée de Nozick, la « propriété de soi » et la clause lockéenne sont reconnus comme deux rouages essentiels de l’argumentation qui conduit à leur ajustement en vue d’une (...) éthique spécifique. Nous examinons comment Nozick défend la « propriété de soi » : son argumentation respecte la séparabilité des personnalités et elle accorde une grande importance à l’élaboration libre par chacun d’un mode de vie lui convenant. Une fois révisées la nature du droit dit « d’appropriation » et de la clause dite « lockéenne », nous réinterprétons cette position centrale des libertariens en considérant la position fondamentale de Nozick comme prenant appui sur une conception égalitariste de la notion de dispositions suffisantes. Les avantages de cette position sont dus non seulement à l’adéquation entre la théorie et un principe de distribution, mais encore à l’image de l’individu doté d’une propriété de soi réaffirmée, dans la vision libertarienne que Nozick déploie. Cette approche fournit les bases de la morale d’une activité libre exercée sur les marchés : ce point est essentiel pour les auteurs libertariens, qui refusent toute aliénation de la propriété privée et toute redistribution. Une version simplifiée du revenu de base une fois définie en l’adaptant à des cadres variés, dont le cadre japonais nous mène à conclure que le revenu de base, quoique séduisant, est partiellement conforme aux thèses libertariennes et qu’une version minimale serait à retenir. (shrink)

「正義」の名で取り戻されなければならないものがあるとすれば、それは、「平等と教育」、「公共性と教育」、「統合と教育」をめぐる討議に、さまざまな考え方、さまざまな立場からの参加を人びとに保障する公論の場 である。教育論議に規範的視点を取り戻す!経済の成長路線に抗して、教育の制度設計をいかに進めるか。正義の原理に遡って問い直す。.

独自の視点から思想の可能性をつかみ出し、現代の倫理として編み直す。鶴見哲学の中心へ、気鋭の哲学者による決定的論考。.

40億年に及ぶとされる、地球における生命の歴史。共通の祖先から進化した生きものたちは、多様でありながら共通点もあわせ持っています。いのちとは何か?いのちはどのようにして生まれたのか?どのように考えられ てきたのか?その歴史をひもときながら、私たちの来た道と、これから行く道を、探ってみましょう。.

Today in Japan psychoactive drugs are widely prescribed for various psychiatric disorders including so-called ‘functional’ disorders. They are undoubtedly effective in relieving various psychological and behavioral symptoms. However, Japan has yet to address some basic questions: (1) uncertainty concerning the cause of various psychiatric functional disorders; (2) unknown factors that affect the function of psychotropic drugs in patients; (3) the difficulty in obtaining objective data concerning the effects of these medications * both on the brain and the psychological symptoms (behavior); (...) and most importantly, (4) due to both the behavioral and organic (brain and CNS) effects of psychoactive drugs, the difficulty in evaluating the risk/benefit ratio between the behavioral (primary) effect and the organic (side) effect. In addition, there are bioethical problems, since these uncertainties tend to permit too broad a range of intention and too many modes of intervention in (a) prescribing and (b) taking psychoactive drugs on the part of therapists and patients, respectively. Though the increased risk of the inappropriate use of these drugs – the non-therapeutic uses, and their over-prescription – has been indicated in other industrialized countries, it has not yet been fully recognized and adequately discussed in Japan. Moreover, it is necessary to establish a sound basis for the ‘somato-psychic’ evaluation of these effects in the context of the physician-patient relationship, including the patient's family and even the broader society. Keywords: bioethics, pharmacological treatment, primary and secondary effects, psychiatric-functional disorders, risk/benefit ratio CiteULike Connotea Del.icio.us What's this? (shrink)

In the current model of visual transduction, the lifetime of active cGMP phosphodiesterase depends upon the period of its interaction with GTP-bound transducin. If recoverin regulates the lifetime of light-activated cGMP phosphodiesterase through inhibition of rhodopsin phosphorylation, rhodopsin should directly interact with cGMP phosphodiesterase and/or GTP-bound transducin complexed with cGMP phosphodiesterase. Is this true?

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

PrésentationGILLES CAMPAGNOLONé en 1945, figurant aujourd’hui à l’inventaire des « Biens culturels nationaux vivants » au Japon et ayant effectué plusieurs tournées internationales, Akio Shiotsu est un représentant majeur de la scène théâtrale Nô. Cette forme de théâtre tient selon lui.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 84-93 [Access article in PDF] Arthur Wesley Dow's Address in Kyoto, Japan (1903) Researchers concerned with the historical development of American art education cannot help but acknowledge Arthur Wesley Dow's significant contribution to the field. Although many writers have recognized him as one of greatest figures in art education, 1 it was not until the end of the twentieth century that art (...) historians discovered his impact on the early development of modernist American art.Several exhibitions of Dow's work have been shown recently, most notably: "Arthur Wesley Dow and American Art and Crafts," in Stanford, Chicago, and Fort Dodge, Iowa (1999 and 2000) and "Harmony of Reflected Light: The Photographs of Arthur Wesley Dow," at the New Mexico Museum of Fine Arts (2001). 2 In addition, two galleries in New York showed exhibitions of Dow's work in 1999 and 2000, respectively. These exhibitions indicate a rediscovery of Dow's work and his role, as well as a wider interest in the integral aspects of modernism in American artworks.Joseph Masheck recognized Dow's post-impressionistic aesthetic of flat surface design as influential on modernism in painting and the graphic arts. 3 Nancy Green sees Dow as "one of the first Western artists who did not simply imitate Japanese art, but who actually used the traditional Japanese woodcut techniques to create modernist prints." 4 Leah Ollman writes, "Those who credit Dow as a conduit to American modernism see his traces everywhere" because "Dow is revealed at the end of the rainbow, as the common ancestor" who spread his theory and practice of art and art education. 5 James Enyeart states that Dow can now receive appropriate critical assessment of his work as a photographer and his impact on pictorial and modernist photography. 6 [End Page 84]Dow is one of the few Americans whose work in the field of art and art education was influenced by Japanese traditional art. He came to Japan in October 1903 and spent three months in Japan, including six weeks in Tokyo and a month in Kyoto. His address in Kyoto in mid-December of that year has been mentioned in biographical studies. 7 However, a detailed account of what Dow said to the Japanese public has previously been unknown due to lack of a historical source.Contemporary Japanese newspaper articles are the primary source for the contents of this address. The purpose of this essay is to translate these source materials into English, providing a definitive description to encourage further research on Dow as an outstanding artist and educator. This essay describes his activity in Japan, provides useful primary sources about his address, and discusses the content of the address. Implications for a cross-cultural interpretation are discussed in the concluding remarks. Dow in Japan Dow was born in Ipswich, Massachusetts on April 6, 1857. He studied art in Boston and Paris, and exhibited his paintings at Salon, in Paris from 1886-1887. He established his summer school of art in Ipswich (1891-1907) and became the curator of Japanese art at the Boston Museum of Fine Arts in1897. He was an instructor of art at the Pratt Institute in Brooklyn from 1895-1904; taught composition at the Art Student's League in New York from 1897-1903; and served as a professor and the director of fine arts at Teachers College, Columbia University from 1904-1922. 8 Dow first studied Japanese art at the Boston Museum of Fine Arts under the direction of Ernest Fenollosa, and then during his residence in Japan.Arthur Johnson's 1934 biography provides the most detailed description of Dow's life and works. 9 In fact, "every subsequent publication about Dow has relied on this biographical information, and in some cases Dow's aesthetic sources, contained in Johnson's short text of about one hundred pages." 10 According to Johnson, Dow kept a careful day-by-day record during these months, and to read these notebooks, some six in number, is to see the world through the eyes... (shrink)

We revisit the EPR problem and make clear what is a correct comprehension of its problem. When one applies the quantum mechanics correctly, it will be shown that there is no paradox. According to these lines of thought, a quantum teleportation scheme without resort to the von Neumann projection postulate is presented.