In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of which (...) are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of which (...) are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japanese Buddhism: A Cultural HistorySteven HeineJapanese Buddhism: A Cultural History. By Yoshiro Tamura. Tokyo: Kosei Publishing Co., 2000. Pp. 232. Paper $14.95.Japanese Buddhism: A Cultural History is a recent English translation of a work by Yoshiro Tamura originally published in Japan in the late 1960s. Tamura, who died in 1989, was one of the most prominent scholars of Japanese Buddhist studies of his era and was probably best (...) known for his major study of "New" Kamakura era Buddhist figures, including Shinran, Dōgen, and Nichiren. In that book Tamura executed a very sophisticated textual analysis of the often overt but sometimes subtle distinctions in doctrinal positions of the leading Kamakura Buddhist thinkers in their respective appropriations of Tendai original-enlightenment thought (hongaku shisō), which was a dominant ideology and a major influence on those who may have departed from or criticized its contents. Tamura's approach to Buddhist studies, with its emphasis on analyzing the textual tradition, has perhaps been superceded for many scholars by the approaches of such figures as Kuroda Toshio, Amino Yoshihiko, and Sasaki Kaoru, who have examined medieval Buddhism from a sociohistorical perspective. Also, some of Tamura's other writings may be questioned for espousing a standpoint that could be associated with nihonjinron (Japanese exceptionalism) theory by highlighting the distinctiveness of Buddhist practices in the context of the Japanese cultural tradition.A focus in this book on Japanese cultural uniqueness for understanding Buddhism in Japan seems indicated by the subtitle and by the back-cover copy, which refers to the way "Japan's Buddhism and the nation's cultural matrix are so inextricably linked that it is impossible to explicate the one without understanding the other." However, the work itself does not really delve into nihonjinron territory, but rather offers a conventional historical approach, with some exceptions, including chapter 4 on "The Japanese Response," which discusses Japanese poetic expressions of Buddhist doctrine.The contents of the book were originally published in a Kosei monthly magazine under the title "Hyakuman nin no Bukkyō-shi" (A history of Japanese Buddhism for a million readers) and then in book form by Kadokawa Shoten under the title Nihon Bukkyō-shi nyūmon (An introductory history of Japanese Buddhism). Since the original publication date was thirty-five years ago and the book does not represent cutting edge scholarship at this point, it can best be evaluated for its possible usefulness as a general survey in the classroom. The key question is whether this would make ideal required reading for an advanced undergraduate course on Japanese Buddhism.The book's main advantage is also its weakness, that is, the attempt to cover over fifteen hundred years and every major period in a little over two hundred pages. On the one hand, all of the major schools and thinkers are introduced, ranging from [End Page 125] pre-Nara trends through the formation of classical and medieval sects as well as early modern sociopolitical conditions to contemporary new religious movements. The book is a reliable reference guide that offers a snapshot of important events, leading figures, and doctrinal themes in a way that is evenhanded and objective, including the explanation of Nichirenist new movements such as Risshō Kosei-kai. For that reason it can be highly recommended.On a close reading, however, the deficiency of this approach becomes clear. For example, chapter 3 dealing with the development of early Buddhist temples in Japan tries to show a progression from Asuka-dera through Shitennō-ji and Hōryū-ji to Yakushi-ji, but the discussion in the narrative does not sufficiently flesh out what the diagram on page 41 is trying to illustrate about unfolding trends in iconography and scriptural exegetical studies.Also, the sections on such topics as Eizon and the revival of the Ritsu school during the Kamakura era and the role of the danka system in the Tokugawa era are a bit confusing and misleading in their brevity. Page 93 in chapter 8 on "The Founders of Kamakura Buddhism" refers to a "definite philosophical development" between the teachings of Hōnen, Nōnin, and Eisai, in the late twelfth century, and the thirteenth-century founders of... (shrink)

「カワイイ」価値をめぐる冒険の旅へ。「カワイイ」に代表されるポピュラーな感性的価値に、一流の研究者たちが学問領域の枠を超えて真摯に向き合う。社会のダイナミズムとメカニズムの実態に迫る、シリーズ第二弾。 .

「西欧」と「近代」を相対化し、今、エスニックの次元から『日本哲学』を創始すること=「われわれの問題に発して思索する」スタイルを提唱。.

Examining the interconnections between genes and culture is crucial for a more complete understanding of psychological processes. Genetic predispositions may predict different outcomes depending on one's cultural context, and culture may predict different outcomes depending on genetic predispositions - that is, genes and culture interact. Less is understood, however, about how genes and culture interact, or the psychological mechanisms through which gene–culture interactions occur. In this Element, Joni Y. Sasaki and Heewon Kwon review key findings and theories in gene–culture (...) interaction research. They then go on to discuss current issues and future directions in gene–culture research that may illuminate the path toward an explanatory framework. (shrink)

BackgroundAlthough, moral distress presents a serious problem among critical care nurses in many countries, limited research has been conducted on it. A validated scale has been developed to evaluate moral distress and has enabled cross-cultural comparison for seeking its root causes.Research aimsThis study aimed to (1) clarify the current status of moral distress among nurses who worked in critical care areas in Japan, (2) compare the moral distress levels among nurses in Japan with previously reported results from the United States (...) (US), and (3) explore the factors associated with moral distress.Research designA nationwide cross-sectional study was conducted.Participants and research contextWe conducted a self-administered questionnaire survey using the Measure of Moral Distress–Healthcare Professionals (MMD-HP) among critical care nurses who were randomly selected from hospitals across Japan. The mean differences between the two countries were compared using a Student's t-test with summary statistics. The factors associated with higher levels of moral distress were examined using a multiple regression analysis.Ethical considerationsThe study was approved by the Ethics Committee of the Tokyo Medical and Dental University (approval nos. M2018-214 and M2019-045).ResultsWe obtained 955 valid responses from 94 facilities. In Japan, the items with the highest moral distress scores were those related to aggressive/inappropriate treatment. The total MMD-HP score was significantly higher in Japanese nurses compared to US nurses (122.8 ± 70.8 vs 112.3 ± 73.2). Some factors, such as leadership experience, were associated with higher moral distress.DiscussionThe top root causes of moral distress were similar to potentially inappropriate treatments in both countries.ConclusionThis study revealed the factors associated with higher moral distress and its characteristics in each country. These results can be used for reducing moral distress in the future. (shrink)

In the natural deduction system for classical propositional logic given by G. Gentzen, there are some inference rules with assumptions discharged by the rule. D. Prawitz calls such inference rules improper, and others proper. Improper inference rules are more complicated and are often harder to understand than the proper ones. In the present paper, we distinguish between proper and improper derivations by using sequent systems. Specifically, we introduce a sequent system \(\vdash_{\bf Sc}\) for classical propositional logic with only structural rules, (...) and prove that \(\vdash_{\bf Sc}\) does not allow improper derivations in general. For instance, the sequent \(\Rightarrow p \to q\) cannot be derived from the sequent \(p \Rightarrow q\) in \(\vdash_{\bf Sc}\). In order to prove the failure of improper derivations, we modify the usual notion of truth valuation, and using the modified valuation, we prove the completeness of \(\vdash_{\bf Sc}\). We also consider whether an improper derivation can be described generally by using \(\vdash_{\bf Sc}\). (shrink)

Background:Moral distress has various adverse effects on nurses working in critical care. Differences in personal values, and between values and self-perception of behaviour are factors that may cause moral distress.Research aims:The aims of this study were (1) to identify ethical values and self-perception of behaviour of critical care nurses in Japan and (2) to determine the items with a large difference between value and behaviour and the items with a large difference in value from others.Research design:A nationwide, cross-sectional study was (...) conducted.Participants and research context:We developed a self-administered questionnaire with 28 items, which was completed by 1014 critical care nurses in Japan. The difference between value and self-perception of behaviour was calculated from the score of each value item minus the score of each self-perception of behaviour item. The size of the difference in value from the others was judged by the standard deviation of each item.Ethical considerations:The study was approved by the Ethics Committee of the Tokyo Medical and Dental University (approval nos. M2018-214, M2019-045).Results:The items with a large difference between value and behaviour sources were related to the working environment and decision-making support. The items with a large difference in value from others were related to hospital management and disclosure of information to patients.Discussion:Improving the working environment for nurses is important for reducing moral distress. Nurses are faced with a variety of choices, including advocating for patients and protecting the fair distribution of medical resources, and each nurse’s priorities might diverge from those of other team members, which can lead to conflict within the team.Conclusion:This study revealed items with particularly high risks of moral distress for nurses. The results provide foundational information that can guide the development of strategies to mitigate moral distress. (shrink)

Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and experimental aesthetics, (...) and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics. (shrink)

Hobbs (2010) introduced ‘clause-internal coherence’ (CIC) to describe inferences in, e.g., ‘A jogger was hit by a car,’ where the jogging is understood to have led to the car-hitting. Cohen & Kehler (2021) argue that well-known pragmatic tools cannot account for CIC, motivating an enrichment account familiar from discourse coherence research. An outstanding question is how to compositionally derive CIC from coherence relations. This paper takes strides in answering this question. It first provides experimental support for the existence of CIC (...) via offline evidence that attributive (non-)deverbal adjectives can trigger the same causal inferences within clauses that their predicative counterparts can trigger across clauses, albeit more weakly. To explain the experimental results, we use tools in Segmented Discourse Representation Theory (SDRT), which allows us to show that causal inferences can be derived in various ways, depending on whether deverbal adjectives are used attributively or predicatively. If the former, they are presupposition triggers and the coherence relations Elaboration/Continuation compete with Background; if the latter, Explanation/Result compete with Background. These different competitions -- cashed out in terms of interaction between default axioms -- correlate with the difference in the relative salience of the causal inferences. (shrink)

1. Kō to shi no shisōshi -- 2. Kō to shi no shakai kagaku -- 3. Nihon ni okeru kō to shi -- 4. Ō-Bei ni okeru kō to shi -- 5. Kokka to ningen to kōkyōsei -- 6. Keizai kara mita kōshi mondai -- 7. Chūkan shūdan ga hiraku kōkyōsei -- 8. Kagaku gijutsu to kōkyōsei -- 9. chikyū kankyō to kōkyōsei -- 10. 21-seiki kōkyō tetsugaku no chihei -- 14. Rīdāshippu kara kangaeru kōkyōsei.

Zen principles and concepts are often taken as mystical statements or poetical observations left for its adepts to use his/her “intuitions” and experience in order to understand them. Zen itself is presented as a teaching beyond scriptures, mysterious, transmitted from heart to heart, and impermeable to logic and reason.

A total of 366 UK children in four different schools, one in Wales, one in Northern Ireland, and two in England, were asked to respond to 20 potentially stressful life experiences. Each event was rated on a scale ranging from 7 to 1 , and the scale value and interquartile range were calculated. In addition, whether or not a given event was actually experienced was noted. Across the groups, there was a very high degree of agreement on all three measures, (...) the median correlations being 0.95 for scale values, 0.70 for interquartile ranges, and 0.92 for incidence. Furthermore, the pooled UK results were found to correlate equally closely with the figures previously obtained in the USA and five other countries. The possibility of a prevalent ‘culture of childhood’, cutting across geo‐political boundaries and ethnic groupings, appears to receive further support. (shrink)

The simple substitution property provides a systematic and easy method for proving a theorem by an axiomatic way. The notion of the property was introduced in Hosoi [4] but without a definite name and he showed three examples of the axioms with the property. Later, the property was given it's name as above in Sasaki [7].Our main result here is that the necessary and sufficient condition for a logicL on a finite slice to have the simple substitution property is (...) thatL is finite. Here the necessity part is essentially new, for the sufficiency part has been proved in Hosoi and Sasaki [5]. Also the proof of sufficiency part is improved here. (shrink)

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

This article looks at the past, present, and future of the study of aesthetics. The early modern period, during which aesthetics came into being, was a great historical turning point for civilization. So, too, is our own day. Looked at this way, aesthetics should show a different face than the one we are used to. Aesthetics is generally considered to be the philosophy of art, yet, with art regarded as an autonomous cultural field, aesthetics commonly gives the impression of being (...) isolated from philosophy in general. This article explores a completely different aesthetics. When it was coming into existence, aesthetics was charged with the real and urgent philosophical problem of its time: how to construct a new world. (shrink)