Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments (...) can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

The epistemological chasm between how we (implicitly and subjectively) perceive or imagine the actual world and how we (explicitly and “objectively”) think of its underlying entities has motivated perhaps the most disconcerting impasse in human thought: the explanatory gap between the phenomenal and physical properties of the world. Here, I advocate a combination of philosophical skepticism and simplicity as an informed approach to arbitrate among theories of consciousness. I argue that the explanatory gap is rightly a gap in our understanding, (...) but one that is not surprising; and we being observers biased by our first-person perspective and our existence may both hinder and (the realization we have them) assist our reasoning. Further, I unfold the concept of observer into two distinct notions based on its functional and phenomenal aspects, and exploit this device to elucidate the subject-observer relationship. Then, I proceed to analyze the philosophical zombie dilemma. Lastly, I contend that from a skeptical viewpoint, panpsychism (or neutral monism) is the most parsimonious doctrine accounting for the explanatory gap, and suggest that it would be possible to make headway in the hard problem of consciousness by uncovering non-trivial causal relationships between qualia states and functional states, if routine and controlled manipulation of neural circuits were easily available. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 107-114 [Access article in PDF] A Comparative Study of Artistic Play and Zoukei-Asobi[Tables] "Artistic Play" and "Zoukei-Asobi" Recently, I found an article in Art Education which led me to believe that "artistic play" is not as popular among North America art educators as it is in Japan. 1 For Japanese art educators, especially at the elementary level, this word is well-known as (...) a key term. In Japanese we say "zoukei-asobi." "Zoukei" means "plastic arts activities" and "Asobi" means "playing." I recognized that the basic concept of "artistic play" has something in common with that of "zoukei-asobi." In this article I will identify this as "J-artistic play." The aim of this essay is to compare the meaning of "J-artistic play" by studying its use in Japan and the United States. The Curriculum Guidelines for Art Education in Japan Before considering J-artistic play, I should explain the national guideline for art education in Japan, since the objectives and contents of J-artistic play are prescribed by this guideline. We have had a national guideline since 1872 though this has changed drastically to resemble the American model after World War II. The subject corresponding to "Visual Art" in the elementary school is "Art and Handicraft (Zuga-Kousaku)." "Zuga" means drawing and painting, "Kousaku" means design and craft. The current guideline is divided into three parts (I-III) as shown in Table 1.The first shows a general goal of art education in the elementary school. The second describes the objectives and contents of each grade. The third indicates some key points of teaching for teachers. In the elementary school the curriculum sequence falls into three steps. The content is divided into the two areas ("Hyougen" and appreciation), and Hyougen is divided further into "artistic play" and "art-making." [End Page 107] [Begin Page 110]I should make some comments on Hyougen. In this guideline, Hyougen is used both as expression and representation. In traditional Japanese aesthetic consciousness, "expression, representation, and decoration" constitute a kind of trinity. The concept of J-artistic play was introduced into the national guidelines for art education in1977. 2 At first, this was available only for grades 1 and 2 in the elementary school, but since 1998 the concept has been extended to grades 1 and 6, as shown in Table 1. About the Property of J-artistic Play The activities in J-artistic play do not refer to any traditional art forms, such as painting, sculpture, or handicraft, nor are they derived from any specific art forms. In fact, the purpose for the introduction of this concept into the national guideline is to protect children from falling into conventional ways of representation as found in the traditional art forms. The promoters of J-artistic play thought that the preconceived ideas found in such existing art forms, such as painting might depress children's spontaneous and free expression. Some concepts from contemporary art, such as performance art, have also influenced J-artistic play.As Eliza Pitri said, "Play is spontaneous and voluntary. It is not obligatory but is freely chosen by the player." Though schooling is compulsory and a student cannot choose it independently, advocates of J-artistic insist that the character of "play" in the school curriculum should be an original and undifferentiated form of learning. One of the advocates of J-artistic play explains the significance of artistic play as an operation of integrated intelligence. 3 Artistic play is different in function from ordinary expressing activities. Ordinary expressing activity works with a blank drawing paper as sterile space, conditioned, virtual...laboratory. Contrarily artistic play works with raw materials, living places, and real environments, and is composed of organized and integrated formative activity by working on the subjects that make conditions for human, objective, and phenomenal interaction. Reorganization of intelligence and the opportunity for acquiring new intelligence are embedded in the activities that work interactively. Here we note that children will learn a reality from the interaction between the person and his... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 107-114 [Access article in PDF] A Comparative Study of Artistic Play and Zoukei-Asobi[Tables] "Artistic Play" and "Zoukei-Asobi" Recently, I found an article in Art Education which led me to believe that "artistic play" is not as popular among North America art educators as it is in Japan. 1 For Japanese art educators, especially at the elementary level, this word is well-known as (...) a key term. In Japanese we say "zoukei-asobi." "Zoukei" means "plastic arts activities" and "Asobi" means "playing." I recognized that the basic concept of "artistic play" has something in common with that of "zoukei-asobi." In this article I will identify this as "J-artistic play." The aim of this essay is to compare the meaning of "J-artistic play" by studying its use in Japan and the United States. The Curriculum Guidelines for Art Education in Japan Before considering J-artistic play, I should explain the national guideline for art education in Japan, since the objectives and contents of J-artistic play are prescribed by this guideline. We have had a national guideline since 1872 though this has changed drastically to resemble the American model after World War II. The subject corresponding to "Visual Art" in the elementary school is "Art and Handicraft (Zuga-Kousaku)." "Zuga" means drawing and painting, "Kousaku" means design and craft. The current guideline is divided into three parts (I-III) as shown in Table 1.The first shows a general goal of art education in the elementary school. The second describes the objectives and contents of each grade. The third indicates some key points of teaching for teachers. In the elementary school the curriculum sequence falls into three steps. The content is divided into the two areas ("Hyougen" and appreciation), and Hyougen is divided further into "artistic play" and "art-making." [End Page 107] [Begin Page 110]I should make some comments on Hyougen. In this guideline, Hyougen is used both as expression and representation. In traditional Japanese aesthetic consciousness, "expression, representation, and decoration" constitute a kind of trinity. The concept of J-artistic play was introduced into the national guidelines for art education in1977. 2 At first, this was available only for grades 1 and 2 in the elementary school, but since 1998 the concept has been extended to grades 1 and 6, as shown in Table 1. About the Property of J-artistic Play The activities in J-artistic play do not refer to any traditional art forms, such as painting, sculpture, or handicraft, nor are they derived from any specific art forms. In fact, the purpose for the introduction of this concept into the national guideline is to protect children from falling into conventional ways of representation as found in the traditional art forms. The promoters of J-artistic play thought that the preconceived ideas found in such existing art forms, such as painting might depress children's spontaneous and free expression. Some concepts from contemporary art, such as performance art, have also influenced J-artistic play.As Eliza Pitri said, "Play is spontaneous and voluntary. It is not obligatory but is freely chosen by the player." Though schooling is compulsory and a student cannot choose it independently, advocates of J-artistic insist that the character of "play" in the school curriculum should be an original and undifferentiated form of learning. One of the advocates of J-artistic play explains the significance of artistic play as an operation of integrated intelligence. 3 Artistic play is different in function from ordinary expressing activities. Ordinary expressing activity works with a blank drawing paper as sterile space, conditioned, virtual...laboratory. Contrarily artistic play works with raw materials, living places, and real environments, and is composed of organized and integrated formative activity by working on the subjects that make conditions for human, objective, and phenomenal interaction. Reorganization of intelligence and the opportunity for acquiring new intelligence are embedded in the activities that work interactively. Here we note that children will learn a reality from the interaction between the person and his... (shrink)

To apply reinforcement learning to difficult classes such as real-environment learning, we need to use a method robust to perceptual aliasing problem. The exploitation-oriented methods such as Profit Sharing can deal with the perceptual aliasing problem to a certain extent. However, when the agent needs to select different actions at the same sensory input, the learning efficiency worsens. To overcome the problem, several state partition methods using history information of state-action pairs are proposed. These methods try to convert a POMDP (...) environment into an MDP environment, and thus they are sometimes very useful. However, their computation cost is very high especially in large state spaces. In contrast, memory-less approaches try to escape from the aliased states by outputting actions stochastically. However, these methods output actions stochastically even in unaliased states, and thus the learning efficiency is bad. If we desire to guarantee the rationality in POMDPs, it is efficient to output actions stochastically only in the aliased states and to output one action deterministically in the other unaliased states. Hence, to discriminate between aliased states and unaliased states, the utilization of χ² -goodness-of-fit test is proposed by Miyazaki et al. They point out that, in aliased states, the distributions of the state transitions by random search and a particular policy are different. This difference doesn't occur owing to non-deterministic actions. Hence, if the agent can collect enough samples to implement the test, the agent can distinguish between aliased states and unaliased states well. However, such a test needs a large amount of data, and it's a problem how the agent collects samples without worsening learning efficiency. If the agent uses random search in the course of learning, the learning efficiency worsens especially in unaliased states. Therefore, in this research, we propose a new method called Extended On-line Profit Sharing with Judgement (EOPSwJ) to detect important incomplete perception, which doesn't need large computation cost and numerous samples. We use two criterions for detecting important incomplete perceptions to attain a task. One is the rate of transitions to each state, and the other is the deterministic rate of actions. We confirm the availability of EOPSwJ using two simulations. (shrink)

We propose a novel algorithm to transliterate English to Japanese and its application to a voice controlled browser, which enable ordinary Japanese people to browse English Web site by voice. Speech recognition software designed for native English speakers do not work for most Japanese because Japanese can't pronounce English as native English speakers do. Therefore, we combined Japanese speech recognition software with English-to-Japanese transliteration software. The accuracy of our transliteration algorithm is 80% recall for the top candidate, and 92% recall (...) for the top three candidates. The browser using this transliteration algorithm makes it possible for Japanese to navigate English Web pages almost as accurate as Japanese pages by voice commands. (shrink)

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

This article examines the underexplored relationship between Amartya Sen’s ‘capability approach’ to human well-being and education. Two roles which education might play in relation to the development of capacities are given particular attention: (i) the enhancement of capacities and opportunities and (ii) the development of judgement in relation to the appropriate exercise of capacities.

Recently, many opportunities have emerged to use the Internet in daily life and classrooms. However, with the growth of the World Wide Web (Web), it is becoming increasingly difficult to find target information on the Internet. In this study, we explore a method for developing the ability of users in information seeking on the Web and construct a search process feedback system supporting reflective activities of information seeking on the Web. Reflection is defined as a cognitive activity for monitoring, evaluating, (...) and modifying one's thinking and process. In the field of learning science, many researchers have investigated reflective activities that facilitate learners' problem solving and deep understanding. The characteristics of this system are: (1) to show learners' search processes on the Web as described, based on a cognitive schema, and (2) to prompt learners to reflect on their search processes. We expect that users of this system can reflect on their search processes by receiving information on their own search processes provided by the system, and that these types of reflective activity helps them to deepen their understanding of information seeking activities. We have conducted an experiment to investigate the effects of our system. The experimental results confirmed that (1) the system actually facilitated the learners' reflective activities by providing process visualization and prompts, and (2) the learners who reflected on their search processes more actively understood their own search processes more deeply. (shrink)

BackgroundThe concept of career identity is integral to nursing practices and forms the basis of the nursing professions. Positive career identity is essential for providing high-quality care, optimizing patient outcomes, and enhancing the retention of health professionals. Therefore, there is a need to explore potential influencing variables, thereby developing effective interventions to improve career identity.ObjectivesTo investigate the relationship between moral distress, moral courage, and career identity, and explore the mediating role of moral courage between moral distress and career identity among (...) nurses.DesignA quantitative, cross-sectional study.MethodsA convenient sample of 800 nurses was recruited from two tertiary care hospitals between February and March 2022. Participants were assessed using the Moral Distress Scale-revised, Nurses’ Moral Courage Scale, and Nursing Career Identity Scale. This study was described in accordance with the STROBE statement.Ethical considerationResearch ethics approval was obtained from the researcher’s university and hospital where this study was conducted prior to data collection.FindingsMoral distress is negatively associated while moral courage is positively associated with career identity among nurses. Moral courage partially mediates the relationship between moral distress and career identity ( β = −0.230 to −0.163, p < 0.01).DiscussionThe findings reveal a relationship between moral distress, moral courage, and career identity among nurses.ConclusionBy paying attention to nurses’ moral distress and courage, healthcare providers can contribute to the development of effective interventions to improve career identity, and subsequently performance, among nurses. (shrink)

Social Conformity and Response Bias Revisited: The Influence of "Others" on Japanese Respondents This study was undertaken to investigate the impact of other respondents' answers on individual responses in survey studies. The study employed four different conditions and manipulated the direction and the level of social pressure. The results have confirmed that social desirability bias hugely impacts individual answers. It was found that respondents are seven times more likely to choose a socially unacceptable option if majority of the preceding respondents (...) also have chosen the same option. Additionally, the existence of an interviewer during data collection was found to be a factor pressuring respondents to give more socially acceptable responses. (shrink)

We investigated the relationship between attentional resources and pedaling cadence using electroencephalography to measure P300 amplitudes and latencies. Twenty-five healthy volunteers performed the oddball task while pedaling on a stationary bike or relaxing. We set them four conditions, namely, performing only the oddball task, performing the oddball task while pedaling at optimal cadence, performing the oddball task while pedaling faster than optimal cadence, and performing the oddball task while pedaling slower than optimal cadence. P300 amplitudes at Cz and Pz electrodes (...) under optimal, fast, and slow conditions were significantly lower than those under control conditions. P300 amplitudes at Pz under fast and slow conditions were significantly lower than those under the optimal condition. No significant changes in P300 latency at any electrode were observed under any condition. Our findings revealed that pedaling at non-optimal cadence results in less attention being paid to external stimuli compared with pedaling at optimal cadence. (shrink)

In June 2017, Japanese and Korean authors published the results of the CREATE‐X trial in the New England Journal of Medicine (NEJM). After we identified their inadequate disclosures of Financial Conflict of Interests (FCOIs), the authors made a post‐publication correction of their FCOIs. The purpose of this study is to evaluate the accuracy of the post‐publication corrections by the Japanese authors of the CREATE‐X trial. All the Japanese authors of the CREATE‐X trial were included in the study. We determined the (...) payments received by these authors in 2016 using publicly available data published by 78 pharmaceutical companies based on the stipulated Japanese transparency guidelines. We retrieved the original and revised versions of the FCOI disclosures as published on the NEJM website, and compared the payments reported by the pharmaceutical companies and the original and revised FCOI disclosures of the authors. Of the 12 authors, nine received payments made by the drug manufacturer involved in the CREATE‐X trial. Of these nine, only three (33.3%) originally disclosed their relationships, and another three (33.3%) later disclosed such relationships in the post‐publication corrections. Similarly, of the 11 receiving at least one payment from other manufacturers of breast cancer products, none correctly disclosed the payments in the original or the revised disclosure. In the CREATE‐X trial, FCOIs with pharmaceutical companies were not properly disclosed by 11 of the 12 Japanese authors, even after the post‐publication corrections, which highlights the need to pay more attention to the accuracy of FCOI disclosures in academic publications. (shrink)

Yuriko Saito, the leading figure in the field, explores the nature and significance of the aesthetic dimensions of people's everyday lives. She argues that everyday aesthetics can be an effective instrument for directing humanity's collective and cumulative world-making project.

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Topics in Cognitive Science, Volume 14, Issue 2, Page 241-257, April 2022.

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.

Yuriko Saito discusses aspects of our everyday experience that have been neglected by modern Western aesthetic theories.