The time of ideological conflicts has passed. But different brands of political ethnocentrism and cultural relativism, in a word, nationalism, have taken the place of former “universal” ideologies, and stalk the world. In the face of these tendencies the necessity for the promotion of intercultural understanding has become ever more urgent. On the philosophical scene, many versions of cultural pluralism and relativism have been asserted and maintained. Since the rise of nihilism in the history of European thought, almost all universal (...) standards of morality that had been traditionally handed down have been denied and all sorts of a priori ideas which might contribute to the development of a consensus between different cultural worlds have been dismissed as mere fictions. Yet still, serious attempts have been made to establish a certain universal background for communicative understanding among different cultures. (shrink)

1. Menschliches Wesen und die transzendentale Frage 1.1 Notwendigkeit der transzendentalen Frage, 1.2 Gegen die Ent-Transzendentalization, 1.3 Apperzeption als Auslegung 1.4 Transzendentales Apriori, 1.5 Apperzeption als Selbstbewußtsein, 1.6 Freies Subjekt und seine "Tranzendenz"-Struktur, 1.7 Die transzendentale Struktur des Daseins 2. Phänomenologie und Sprachanalytische Philosophie 2.1 Die Struktur des prädikativen Satzes und die Intentionalität, 2.1.1 Was ist die Intentionalität?, 2.1.1 Intentionalität- Kritik aus der Sprachanalyse, 2.1.3 Ein Versuch der Gegenkritik 2.2 Noema und Sinn, 2.2.1 Neue Entwicklung der Husserl-Interpretationen, 2.2.2 Frege's Sinn (...) und Noema, 2.2.3 Noema und Gestalt, 2.2.4 Individuation und die Entschiedenheit der Intention, 2.2.5 Die Identität des Einzelnen und die ideale Identität 3. Die phänomenologische Theorie der Leiblichkeit---"mon corps". (shrink)

Increasing psychophysical evidence suggests that specific image features - or statistics - can appear unpleasant or induce visual discomfort in humans. Such unpleasantness tends to be particularly profound if the image's amplitude spectrum deviates from the regular 1/f spatial-frequency falloff expected in natural scenes. Here, we show that profound unpleasant impressions also result if the orientation spectrum of the image becomes flatter. Using bandpass noise with variable orientation and spatial-frequency bandwidths, we found that unpleasantness ratings decreased with spatial- frequency bandwidth (...) but increased with orientation bandwidth. Similarly, a subsequent experiment revealed that sinusoidal modulations in the amplitude spectrum of 1/f noise along the spatial frequency increased unpleasantness, but modulations along the orientation decreased it. Given that natural scenes tend to have a linear slope along the spatial frequency but an uneven spectrum along the orientation dimension, our opposing results in the spatial-frequency and orientation domains commonly support the idea that images deviating from the spectral regularity of natural scenes can give rise to unpleasant impressions. (shrink)

On linguistics and teaching of Malay language; festschrift in honor of Isamu Shōho, a professor of Malay language at Division of Malaysian Studies, Department of Southeast Asian Studies, Tokyo University of Foreign Studies.

Many studies have reported neural correlates of visual awareness across several brain regions, including the sensory, parietal, and frontal areas. In most of these studies, participants were instructed to explicitly report their perceptual experience through a button press or verbal report. It is conceivable, however, that explicit reporting itself may trigger specific neural responses that can confound the direct examination of the neural correlates of visual awareness. This suggests the need to assess visual awareness without explicit reporting. One way to (...) achieve this is to develop a technique to predict the visual awareness of participants based on their peripheral responses. Here, we used eye movements and pupil sizes to decode trial-by-trial changes in the awareness of a stimulus whose visibility was deteriorated due to adaptation-induced blindness. In the experiment, participants judged whether they perceived a target stimulus and rated the confidence they had in their perceptual judgment, while their eye movements and pupil sizes were recorded. We found that not only perceptual decision but also perceptual confidence can be separately decoded from the eye movement and pupil size. We discuss the potential of this technique with regard to assessing visual awareness in future neuroimaging experiments. (shrink)

This chapter examines an apparent tension created by recent research on neurological development and genetics on the one hand and cognitive development on the other. It considers what it might mean for intrinsic signals to guide the initial establishment of functional architecture. It argues that an understanding of the mechanisms by which the body develops can inform our understanding of the mechanisms by which the brain develops. It cites the view of developmental neurobiologists Fukuchi-Shimogori and Grove, that the patterning (...) of the part of the brain responsible for our higher functions is coordinated by the same basic mechanisms and signaling protein families used to generate patterning in other embryonic organs. Thus, what's good enough for the body, is good enough for the brain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Breathing with Mountains1Paul A. Harris (bio)For Sydney Levy, who brought me on board.Geologic AspirationsStone breathes within nature's time cycle…. It begins before you and continues through you and goes on. Working with stone is not resisting time but touching it.—Isamu NoguchiUnder the suffocating circumstances of lockdown, COVID conditions inevitably wafted their way into the stoned thinking of Pierre Jardin.2 The pandemic atmosphere made air apparent, and breathing became (...) personal, political, and planetary. People sought perspective in sometimes surprising ways. While many turned to the Stoics, Jardin turned to stone. Suspending his disbelief in "The Hammock of Relaxation" (fig. 1), Jardin stretched his imagination, and set himself adrift in diffuse reveries of rocky respiration. Click for larger view View full resolutionFigure 1.The Hammock of Relaxation. Pebble on book cover.Photo by author.Jardin composes a life centered in absorbing stone(s), encompassing both a physical process of soaking in a substance slowly and psychological experience of becoming engrossed in it. He feels alive with stone and stone alive in him; literally and metaphorically, he has spent hours looking at stone, listening to stone, and touching/being touched by stone. But he had never seriously considered breathing stone. Immediately, a slew of questions arose: Do rocks breathe? Do mountains? Does the Earth? What would it mean to breathe with a stone, or with the planet? Jardin's pursuit of lithic and lithospheric respirations came to comprise his geologic aspirations, which are set out here. [End Page 261]Aerial ImaginationPierre Jardin's geologic aspirations took inspiration from Gaston Bachelard's aerial imagination, as described in Air and Dreams. Accepting Bachelard's invitation to "listen to nothing but our own breathing…, to become as aerial as our breath…" (Bachelard, Air 241), Jardin set about inventing a regimen of contemplative breathing exercises. To do so, he took up what Bachelard terms the "search for a thought hidden under expressive sedimen,ts, [in which] a geology of silence is developed" (Bachelard Air, 251). The question was, what "expressive sediments" should Jardin mine in this quixotic quest? What materials and mental modalities would precipitate a "geology of silence"?In order to meld minds with Bachelard, Jardin placed a pebble on Robert Lapoujade's pencil portrait that graces the book's cover (fig. 2). The results were alchemical: the cobble transmuted into a philosopher's stone, opening Bachelard's third eye; the rock launched a basalt on Jardin's senses that produced an "intoxication of aerial imagination raised to its cosmic role" (Bachelard, Air 241). A gesture as simple as placing a rock on a book crystallized new quartz-veins of thought. What follows are Jardin's experiments with a variety of "expressive sediments," a series of multi-scalar meditations and various instantiations of lithic respiration. Click for larger view View full resolutionFigure 2.Aerial Basalt on the Senses. Pebble on book cover.Photo by author.Atmospheric CompositionsPierre Jardin's geologic aspirations began with a Composition of Place, a meditative technique deployed in the Spiritual Exercises of Ignatius of Loyola. Loyola stipulates that "for contemplation or meditation about visible things… the 'composition' will consist in seeing through the gaze of the imagination the material place where the object I want to contemplate is situated" (Ganss 47). Taking "Breathing with Mountains" as the "object" of contemplation stretches Jardin's imagination to a geologic scale; its "material place" is the Earth's atmosphere, or more specifically, its lowest layer, the troposphere. [End Page 262]To facilitate his meditation, Jardin scales Earth down to a stunning serpentine stone, which he has mounted like a globe. Holding the stone and breathing slowly, Jardin can visualize the troposphere as the thinnest of films on the rock's surface. In his active imagination, the bumps, furrows, and ridges in the rough rock texture evoke the constant crumpling of the lithosphere caused by drifting and crashing tectonic plates.With the stone standing in for Earth, Jardin suddenly becomes a geologic giant representing Anthropocene humanity. As his exhalations cloud the stone, Jardin considers how Anthropogenic expirations are changing the composition of the Earth's atmosphere. An index of human impact is provided... (shrink)

In the United States, property rights are afforded protection, but moral rights are not. Up until 1989, the United States adamantly refused to join the Berne Copyright Convention, the first multilateral copyright treaty, now ratified by seventy-eight countries. The American government refused to comply because the Berne Convention grants moral rights to authors. This international policy was—and is—incompatible with United States copyright law, which recognizes only economic rights. Although ten states have enacted some form of moral rights legislation, federal copyright (...) laws tend to prevail, and those are still wholly economic in their motivation. Indeed, the recent pressure for the United States to agree, at least in part, to the terms of the Berne Convention came only as a result of a dramatic increase in the international piracy of American records and films.In September 1986, Senator Edward M. Kennedy of Massachusetts first introduced a bill called the Visual Artists Rights Act. This bill attempts to amend federal copyright laws to incorporate some aspects of international moral rights protection. The Kennedy bill would prohibit the intentional distortion, mutilation, or destruction of works of art after they have been sold. Moreover, the act would empower artists to claim authorship, to receive royalties on subsequent sales, and to disclaim their authorship if the work were distorted.4 This legislation would have prevented Clement Greenburg and the other executors of David Smith’s estate from authorizing the stripping of paint from Several of Smith’s later sculptures so that they would resemble his earlier—and more marketable—unpainted sculptures. Such moral rights legislations would have prevented a Japanese bank in New York from removing and destroying a sculpture by Isamu Noguchi simply because the bank president did not like it. And such legislation would have prevented the United States government from destroying Tilted Arc. 4. Although this section appeared in the original version of Kennedy’s bill, the current version provides for a study of resale royalties. Richard Serra is known for his large-scale site-specific works in landscapes, urban environments, and museums. (shrink)