This volume presents the first unabridged translation of Ito Jinsai's (1627-1705) masterwork, the Gomo jigi (Philosophical Lexicography of the Analects and ...

Jennifer Lackey challenges the sufficiency version of the knowledge-action principle, viz., that knowledge that p is sufficient to rationally act on p, by proposing a set of alleged counterexamples. Her aim is not only to attack the knowledge-action principle, but also to undermine an argument for subject-sensitive invariantism. Lackey holds that her examples are counterexamples to the sufficiency version of the knowledge-action principle because (a) S knows the proposition in question, but (b) it is not rational for S to act (...) on it. In this paper, first, I argue against (a) on intuitive and on theoretical grounds. Second, I point out that (b), even if combined with (a), is not sufficient to make for counterexamples to the knowledge-action principle of the relevant kind. Third, I offer two alternative explanations of the intuition Lackey relies on. If either one of them is right, (b) may not be satisfied in her examples. (shrink)

慶応義塾大学法学部のゼミナール「伊東乾民事訴訟法研究会」の卒業生の会「乾会」による論文集。今回はテーマを民事訴訟法に限ることなく、現在関心を持っている法律分野について執筆した。.

Protein ubiquitination constitutes a post‐translational modification mediated by ubiquitin ligases whereby ubiquitinated substrates are degraded through the proteasomal or lysosomal pathways, or acquire novel molecular functions according to their “ubiquitin codes.” Dysfunction of the ubiquitination process in cells causes various diseases such as cancers along with neurodegenerative, auto‐immune/inflammatory, and metabolic diseases. KCTD10 functions as a substrate recognition receptor for cullin‐3 (CUL3), a scaffold protein in RING‐type ubiquitin ligase complexes. Recently, studies by ourselves and others have identified new substrates that are (...) ubiquitinated by the CUL3/KCTD10 ubiquitin ligase complex. Moreover, the type of polyubiquitination (e.g., K27‐, K48‐, or K63‐chain) of various substrates (e.g., RhoB, CEP97, EIF3D, and TRIF) mediated by KCTD10 underlies its divergent roles in endothelial barrier formation, primary cilium formation, plasma membrane dynamics, cell proliferation, and immune response. Here, the physiological functions of KCTD10 are summarized and potential mechanisms are proposed. (shrink)

In this paper, we explore the traditional conception of a prioricity as epistemic independence of evidence from sense experience. We investigate the fortunes of the traditional conception in the light of recent challenges by Timothy Williamson. We contend that Williamson’s arguments can be resisted in various ways. En route, we argue that Williamson’s views are not as distant from tradition as they might seem at first glance.

Konrad Lorenz, an ethologist, proposed that certain physical elements are perceived as cute and induce caretaking behavior in other individuals, with the evolutionary function of enhancing offspring survival. He called these features Kindchenschema, baby schema. According to his introspection, these include a large forehead, chubby round features, and chubby cheeks. Previous studies are limited to examining the effects of these facial features on perceived cuteness. However, other morphological factors may be related to perceived cuteness. This study uses Bayesian optimization, one (...) of the global sequential optimization methods for estimating unknown functions, to search for facial morphological features that enhance the perceptions of facial cuteness. We applied Bayesian optimization incorporating Gaussian process ordinal regression, which allows an estimation of the latent cuteness function based on evaluations using the Likert scale. A total of 96 preschool children provided the facial images used in this study. We summarized the facial shape variations using methodologies of geometric morphometrics and principal component analysis up to the third principal component, which we refer to as the face space. A total of 40 participants evaluated the images created by warping the average facial texture of the children's faces with randomly generated parameters in the face space. Facial traits related to perceived cuteness were estimated based on the averaged cuteness function. Perceived cuteness was linked to the relative lower position of facial components and narrower jawline but not to the forehead height. (shrink)

The generality problem is usually taken to arise only for externalist theories of knowledge or justification. In this paper, first, I argue that even internalist theories run afoul of a variant of the generality problem. This is because S may have multiple pieces of evidence concerning the reliability of the token process by which S forms the belief in question, and they determine the degree of Sʼs internalist justification differently. Second, I offer a solution to the generality problem for internalist (...) theories: Sʼs practical reason rather than epistemic reason picks out a piece of evidence concerning reliability as relevant. (shrink)

In this paper, first, I distinguish four questions concerning evidence: (a) the ontological question: what kind of entity qualifies as evidence? (b) the possession question: what is it for S to possess evidence? (c) the evidential relation question: what is it for one or a set of things to be evidence for another? And (d) the evidential basis question: how does S’s evidence contribute to forming, maintaining, or revising S’s doxastic attitudes? Williamson’s E = K thesis is only concerned with (...) question (b). Next, I argue that three recent arguments against the E = K thesis miss the target either because they combine the E = K thesis with something alien, or because they conflate these questions. The arguments I address are the argument from access to evidence, the argument from evidential bootstrapping, and the argument from true belief based on falsehood. The argument from access to evidence combines the E = K thesis with a quasi-skeptical consideration. The argument from evidential bootstrapping is only directed at Williamson’s theory of probability, which is his answer to question (c). The argument from true belief based on falsehood derives its force from an assumption about the basing relation as an answer to question (d). Although I do not deny that it is possible to argue for or against the E = K thesis by appealing to answers to other questions than (b), it is no easy task. (shrink)

Virtue epistemology has it that knowledge is a kind of success through ability, and explains the value of knowledge in terms of the general value of success through ability. However, Duncan Pritchard, in a series of recent writings, argues that knowledge is not merely a success through ability, and the virtue-theoretic explanation of the value of knowledge fails. He derives general claims about what he calls ‘environmental luck’ from certain examples, and uses them against virtue epistemology. First, I propose counterexamples (...) to Pritchard’s general claims about environmental luck. Second, I offer a diagnosis of both Pritchard’s and my examples, according to which they differ as to how many abilities are responsible for the performance in question. Different structures of performance make for different conditions for success to be fully creditable to a subject. Once this is taken account of, virtue epistemology can deal with all the examples, while maintaining its main tenet that the value of knowledge is explained in terms of the value of success through ability. Third, I show that my response to Pritchard’s argument against virtue epistemology is more plausible then the ones offered by John Greco and Ernest Sosa. (shrink)

The intellectual foundation of early modern Japan was provided by Confucianism—a system of knowledge set forth in Chinese classical writings. In order to gain access to this knowledge, the Japanese applied reading markers to modify the original Chinese to fit the peculiarities of Japanese grammar and pronunciation. Confucian education started by having the children memorize these Japanese readings of the Chinese classics by endless recitation. This article will examine the significance of this study method in order to demonstrate the following: (...) 1. The recitation of the Chinese classics led to these texts being ‘incorporated’ into the body, where they become the ‘intellectual language’ of thought and speech. 2. This quality of ‘incorporation’ was appreciated because it fostered the unity of thought and behavior, leading to the formation of a strong-willed subject. 3. This idea of ‘incorporation’ stands in stark contrast to the modern conception of knowledge that stresses objectivity and transparency, and ignores the pedagogical significance of the body. (shrink)

La crise de la démocratie d’aujourd’hui a remis en cause la notion même de la solidarité. Le philosophe japonais, Hiroki Azuma, dans Volonté générale 2.0, présente un argument qui repense les conditions de participation et de présence de la politique. En prenant pour fil conducteur la notion rousseauiste de « volonté générale », il essaie de mettre à jour cette notion classique, en se référant au développement de la technologie informatique. Notre article vise à mesurer la portée politico-philosophique de la (...) « volonté générale 2.0 ». (shrink)

Reinforcement learning is very effective for robot learning. Because it does not need priori knowledge and has higher capability of reactive and adaptive behaviors. In our previous works, we proposed new reinforcement learning algorithm: “Q-learning with Dynamic Structuring of Exploration Space Based on Genetic Algorithm (QDSEGA)”. It is designed for complicated systems with large action-state space like a robot with many redundant degrees of freedom. And we applied it to 50 link manipulator and effective behavior is acquired. However optimality and (...) fault tolerance of the proposed algorithm were not considered and to demonstrate effectiveness of the proposed algorithm other applications are necessary. Acquiring of locomotion patterns by a multi-legged robot is a very interesting problem. As it has many redundant degrees of freedom, application of usual reinforcement learning is difficult and an optimal locomotion has not been acquired using previous reinforcement learning algorithm. And the redundancy of the robot is effective to the fault tolerance and various locomotion patterns can be acquired for adapting the faults of the legs. In this paper, we applied QDSEGA to acquiring of locomotion pattern by the multi-legged robot and considered the optimality and fault tolerance. Effective behavior has been obtained by using our proposed algorithm. (shrink)

BackgroundThe objective of this study was to describe, through measurement of physical activity and observation of free outdoor play, the relation between children’s free play and the spatial layout of the playground. To accomplish this, we altered the spatial layout of the same playground to see how the layout affects the play activity and the physical activity levels in the same children.MethodsParticipants were six young children. Participants’ physical activity level and the duration of different types of action that occurred in (...) each area and their transitions were compared before and after the alteration of the play-equipment layout using the data from accelerometers and video recordings.ResultsA significant increase in physical activity occurred after the spatial layout alteration, which was related to action differences. Before the alteration, children tended to play in a similar manner for a given play area; however, after the alteration, pronounced interindividual variation in play activity across children was observed.ConclusionThe present pilot study found that in free play situations in the outdoor playground, the spatial layout of playground affects the pattern of play activity and the physical activity levels of young children. (shrink)

Reinforcement learning has recently received much attention as a learning method for complicated systems, e.g., robot systems. It does not need prior knowledge and has higher capability of reactive and adaptive behaviors. However increase in dimensionality of the action-state space makes it diffcult to accomplish learning. The applicability of the existing reinforcement learning algorithms are effective for simple tasks with relatively small action-state space. In this paper, we propose a new reinforcement learning algorithm: “Q-learning with Dynamic Structuring of Exploration Space (...) Based on Genetic Algorithm ”. The algorithm is applicable to systems with high dimensional action and interior state spaces, for example a robot with many redundant degrees of freedom. To demonstrate the effectiveness of the proposed algorithm simulations of obstacle avoidance by a 50 links manipulator have been carried out. It is shown that effective behavior can be learned by using the proposed algorithm. (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)

ArgumentThis paper discusses one aspect of the context in which atomic physics developed in Japan between 1905 and 1931. It argues that during this period, there was a social context in which atomic physics was valued as a study of the electron and was thus relevant to electrical engineering. To demonstrate this, I first show that after the Russo-Japanese War, electrical engineering was deemed a valuable and viable field of research in Japan. Second, I show that physicists wrote textbooks and (...) popular accounts about the electron, covering topics from both atomic physics and electrical engineering and presenting the former as relevant to the latter. Finally, as an example of how atomic physics partially emerged from this context, I discuss the group of Kujirai Tsunetarō, an electrical engineer who worked in the physics department of the Institute for Physical and Chemical Research. From Kujirai's group, Nishina Yoshio started his career and became the most important Japanese atomic and nuclear physicist of the 1930s. (shrink)

Researchers and non-commercial institutions negotiate complex legislation and guidance when planning and conducting research studies. The documents and processes required differ across nations and their regulatory bodies and it can be challenging to conduct an international study, especially for non-commercial organisations. In this study, colleagues from Japan and the UK worked closely together focusing on the legislation, organisations, trial processes, ethics review and quality assurance frameworks of clinical trials in two countries, the UK, demonstrated on the model of practices in (...) the University of Bristol and University Hospital Bristol NHS Foundation Trust, and Japan, based on the model in Kyoto University Hospital. Although the ICH tripartite guidelines were developed with participation from both the EU and Japan the set-up and approval processes for clinical trials are different between the two countries while the expectations for quality assurance are similar. We will argue that the f... (shrink)

This article analyses the use of images in the discourse of animal ethics in an attempt to see how visual cultural studies can contribute to the debate in environmental philosophy. Drawing on Derrida's critique of the utilitarian theory of animal liberation and Mitchell's analysis of iconoclasm in visual culture theories, the article argues that an iconoclastic strategy of visual representation in the discourse of animal ethics undermines the very objective of such an ethical theory. Two case studies — Peter Singer's (...) animal liberation and J.B. Callicott's land ethic — illustrate an implacable tendency to essentialize the visual and animal identity. (shrink)

In this paper, first, I briefly discuss various types of obstacles and difficulties for cross-cultural study and in particular failure of translational equivalence of linguistic stimuli and questions by referring to the literature in cultural psychology. Second, I summarize the extant cross-cultural studies of semantic judgments about reference and truth-value with regard to proper names, with a focus on Sytsma et al.’s (2015) study that examined the differences between English and Japanese. Lastly, I introduce and discuss the two recent studies (...) of semantic judgments in Japanese that my colleagues and I conducted. These two studies suggest that the translation Sytsma et al. used failed to consider the linguistic features characteristic of Japanese and other East Asian languages, and thereby failed to ensure translational equivalence. (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)