Although a distinction between moral-personal and moral-impersonal dilemmas (Greene, Sommerville, Nystrom, Darley, & Cohen, 2001 Greene, J. D., Sommerville, R. B., Nystrom, L. E., Darley, J. M. and Cohen, J. D. 2001. An fMRI investigation of emotional engagement in moral judgement. Science, 293: 2105–2108. doi:10.1126/science.1062872.[Crossref], [PubMed], [Web of Science ®], [Google Scholar]) has been widely accepted as an explanation for a difference between the trolley and footbridge dilemmas (Thomson, 1985 Thomson, J. J. 1985. “The trolley problem”. In Ethics: Problems and (...) principles, Edited by: Fischer, J. M. and Ravizza, M. Fort Worth, TX: Harcourt Brace Jovanovich. [Google Scholar]), its psychometric properties remain a mystery. In this study 219 participants completed 62 moral dilemma tasks used in Greene et al. (2001 Greene, J. D., Sommerville, R. B., Nystrom, L. E., Darley, J. M. and Cohen, J. D. 2001. An fMRI investigation of emotional engagement in moral judgement. Science, 293: 2105–2108. doi:10.1126/science.1062872.[Crossref], [PubMed], [Web of Science ®], [Google Scholar]), and the correlation structure among the dilemmas was analysed through factor analysis and structural equation modelling. Findings suggest that, first, moral-personal dilemmas are composed of one factor, indicating that the assumption in Greene et al. (2001 Greene, J. D., Sommerville, R. B., Nystrom, L. E., Darley, J. M. and Cohen, J. D. 2001. An fMRI investigation of emotional engagement in moral judgement. Science, 293: 2105–2108. doi:10.1126/science.1062872.[Crossref], [PubMed], [Web of Science ®], [Google Scholar]) was supported. Second, moral-impersonal dilemmas are explained by two factors that reflect procedural and consequential aspects of decision making. Third, the trolley and footbridge dilemmas fall under the same factor category; therefore the difference between the two dilemmas cannot be attributed to emotional involvement. Additionally, the results of the structural equation modelling suggest that they differ in the engagement of rational processing. (shrink)

While entanglement is a phenomenon discussed in quantum theory, it can also be found in art. We propose to connect entanglement to art’s most fundamental question: what is creativity? For example, Marcel Duchamp found the essence of the creative act in the “art coefficient,” the difference and/or gap between the artist’s intention and realization which is created. This paper locates the common sense understanding of entanglement in an inseparable whole that ensures difference between the intention and realization. Seeing the artistic (...) act as actively designing entanglement within artistic production, we present examples of this from the work of the Japanese-style painter Nakamura, and present a concrete vision for an answer regarding the question of the nature of creativity. (shrink)

Tragic Beauty in Whitehead and Japanese Aesthetics evolved from a paper Steve Odin delivered at the 1984 Conference for the International Society of Process Philosophy at Nanzan University in Nagoya, Japan. This book will be intriguing and stimulating not only to those scholars who engage in Whitehead studies but also to those who are concerned with the development of an East–West dialogue on aesthetics and aesthetic education. In this volume, Odin compares Alfred North Whitehead's axiological process metaphysics, including his concept (...) of aesthetic experience and a doctrine of beauty, with the aesthetics of Zen Buddhism and offers readers a fresh cross-cultural understanding of Whitehead's process philosophy.In... (shrink)

Social technology can improve the quality of older adults' social lives and mitigate negative mental and physical health outcomes associated with loneliness, but it should be designed collaboratively with this population. In this paper, we used participatory design methods to investigate how robots might be used as social facilitators for middle-aged and older adults in both the US and Japan. We conducted PD workshops in the US and Japan because both countries are concerned about the social isolation of these older (...) adults due to their rapidly aging populations. We developed a novel approach to participatory design of future technologies that spends 2/3 of the PD session asking participants about their own life experiences as a foundation. This grounds the conversation in reality, creates rapport among the participants, and engages them in creative critical thinking. Then, we build upon this foundation, pose an abstract topic, and ask participants to brainstorm on the topic based on their previous discussion. In both countries, participants were eager to actively discuss design ideas for socially facilitative robots and imagine how they might improve their social lives. US participants suggested design ideas for telepresence robots, social distancing robots, and social skills artificial intelligence programs, while Japanese participants suggested ideas for pet robots, robots for sharing experiences, and easy-to-operate instructor robots. Comparing these two countries, we found that US participants saw robots as tools to help facilitate their social connections, while Japanese participants envisioned robots to function as surrogate companions for their parents and distract them from loneliness when they were unavailable. With this paper, we contribute to the literature in two main ways, presenting: A novel approach to participatory design of future technologies that grounds participants in their everyday experience, and Results of the study indicating how middle-aged and older adults from the US and Japan wanted technologies to improve their social lives. Although we conducted the workshops during the COVID-19 pandemic, many findings generalized to other situations related to social isolation, such as older adults living alone. (shrink)

Free will in intentional consciousness is exposed to skeptics since it was found that subconscious neural activities, what is called readiness potential, precedes the intention to an action. The question of whether free will is an authentic illusion has been argued not only in psychology but physics and philosophy. Most of scientists, however, think that the intentional consciousness who believes to have his/her own free will, is determined by readiness potential in advance, and that free will cannot coexist with determinism. (...) We here point out that knowing to be determined in advance cannot be verified till local event at a local site can be known from a different local site without disturbing the event. That is the assumption of locality. We here show that determinism, free will and locality are three essential elements in consciousness, and show that they constitute trilemma. The fact that one of three elements must be abandoned can lead to three types of consciousness. Absence of free will can constitute type I consciousness which is consistent with symptoms in autism spectrum disorder such as weakened theory of mind. Absence of determinism can constitute type II consciousness which is consistent with symptoms in schizophrenia such as thought insertion, self-other integration. Absence of locality can constitute type III consciousness which is consistent with typical people. We can find the entanglement of intentional consciousness with unconsciousness including readiness potential only in type III consciousness. Finally, we show that sense of agency and free will cannot be established until consciousness as an entanglement is implemented. (shrink)

The recent discovery of the medullary circuit driving “hunger responses” – reduced thermogenesis and promoted feeding – has greatly expanded our knowledge on the central neural networks for energy homeostasis. However, how hypothalamic hunger and satiety signals generated under fasted and fed conditions, respectively, control the medullary autonomic and somatic motor mechanisms remains unknown. Here, in reviewing this field, we propose two hypothalamomedullary neural pathways for hunger and satiety signaling. To trigger hunger signaling, neuropeptide Y activates a group of neurons (...) in the paraventricular hypothalamic nucleus (PVH), which then stimulate an excitatory pathway to the medullary circuit to drive the hunger responses. In contrast, melanocortin‐mediated satiety signaling activates a distinct group of PVH neurons, which then stimulate a putatively inhibitory pathway to the medullary circuit to counteract the hunger signaling. The medullary circuit likely contains inhibitory and excitatory premotor neurons whose alternate phasic activation generates the coordinated masticatory motor rhythms to promote feeding. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Artist as Professional in JapanKazuyo Nakamura and Akio OkazakiThe Artist as Professional in Japan, edited by Melinda Takeuchi. Stanford, Calif.: Stanford University Press, 2004, 262pp., $45.00 cloth.With the increase of cross-cultural academic exchange in our time, more accurate information on art from other cultures has become more easily available, and curriculum development of art education directed toward multiculturalism has been brought to realization. There is need emerging (...) among art educators for academic resources for teaching cross-cultural subject matters, and The Artist as Professional in Japan provides historical information helpful in gaining a critical understanding of the nature of Japanese art discourse. The volume is edited from a fresh sociocultural perspective by Melinda Takeuchi, professor of Japanese art at Stanford University.Takeuchi, noticing that few scholarly books on the profession of Japanese artists are available to students of art history in the United States, set about the volume in concerted efforts with her colleagues. The volume consists of individual case studies on different Japanese artists; they are well-known sculptors, painters, potters, printmakers, and architects and are recognized in Japan as representative in different eras from the seventh to the twentieth century. Running through the individual studies, there is a concern for political forces that shaped art discourse and the identity of the Japanese artist. The following questions are asked: What degree of control did the artists exercise over their métier? What were some of the dynamics operating in the production, consummation, and evaluation of art and artist? How was the image of the artist formed during various periods? Working with these questions, seven case studies address issues of canon formation of art by looking into the terrain of the meaning of a critical word, Shoku-nin; it literally means people (nin) with an occupation (shoku) and denotes the collective artisan class.Different art historians and art theorists take a unique approach for developing each case study in the volume. Donald F. McCallum's study in chapter 2 is on the Buddhist Icons of the Shaka Triad during the Asuka Period (ca.590-ca.650), and it is asked what were the political forces working on the production of the [End Page 118] icons. In contrary to orthodox view, it is argued that the icons were produced not by an individual sculptor named Tori-busshi but by the guilds of which the supervisor was Tori. Also, it is argued that the icons were produced with the patronage of soga clan, the dominant political force of the time, not by the imperial family, including Shotoku Taishi.Karen L. Brock in chapter 3 examines the case of E'nichibo Jonin (active ca.1211-ca.1243), the painter of Saint Myoe. The case shows that the ateliers of temples, such as Kozanji in Kyoto, played a central role in producing and distributing sacred images. This study makes clear that few individual painters, such as those named ebusshi, participated in the formation of the canon of Japanese painting, but collective political forces, such as Kozanji ateliers, exercised power in bringing out sacred objects.In chapter 4 Melinda Takeuchi takes up the case of Tosa Mitsunobu (1434-ca.1523), an artisan painter active in Kyoto court circles. It shows a historical fact particular to Japanese art discourse—that later artists manipulated the names of earlier ones for professional or cultural merits. Taking notice of the fact that Mitsunobu's name late became synonymous with a production unit that shares secret techniques of products, Takeuchi concludes, "In the end, the name of an artist transcends time, space, materiality, and ultimately discourse itself" (101).The study of Louise Allison Cort in chapter 5 is on the case of Morita Kyuemon in the seventeenth century, a warrior trained as a potter and running the Odo pottery in the Tosa domain. By exploring the motivations of the Tosa domain in trying to transform local products into refined and stylish pottery worthy of formal presentation to other domain rulers (daimyo), to government officials, and to the shogun in Edo, this chapter demonstrates how both the potter and the ruler actively sought to join the aesthetic mainstream of their own day.In... (shrink)

Although results of many psychology studies have shown that sharing emotion achieves dyadic interaction, no report has explained a study of the transmission of authentic information from emotional expressions that can strengthen perceivers. For this study, we used computational modeling, which is a multinomial processing tree, for formal quantification of the process of sharing emotion that emphasizes the perception of authentic information for expressers’ feeling states from facial expressions. Results indicated that the ability to perceive authentic information of feeling states (...) from a happy expression has a higher probability than the probability of judging authentic information from anger expressions. Next, happy facial expressions can activate both emotional elicitation and sharing emotion in perceivers, where emotional elicitation alone is working rather than sharing emotion for angry facial expressions. Third, parameters to detect anger experiences were found to be correlated positively with those of happiness. No robust correlation was found between the parameters extracted from this experiment task and questionnaire-measured emotional contagion, empathy, and social anxiety. Results of this study revealed the possibility that a new computational approach contributes to description of emotion sharing processes. (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)

The industrial society in Japan is now entering into a new era of an advanced information society or a network society. AI as a knowledge information processing technology is becoming an integral part of the society. This emerging era is being supported by the information industry.