The neuromodulatory effects of brain stimulation therapies notably involving repetitive transcranial magnetic stimulation on nocturnal sleep, which is critically disturbed in major depression and other neuropsychiatric disorders, remain largely undetermined. We have previously reported in major depression patients that prefrontal rTMS sessions enhanced their slow wave activity power, but not their sigma power which is related to sleep spindle activity, for electrodes located nearby the stimulation site. In the present study, we focused on measuring the spindle density to investigate cumulative (...) effects of prefrontal rTMS sessions on the sleep spindle activity. Fourteen male inpatients diagnosed with medication-resistant unipolar or bipolar depression were recruited and subjected to 10 daily rTMS sessions targeting the left dorsolateral prefrontal cortex. All-night polysomnography data was acquired at four time points: Adaptation, Baseline, Post-1, and Post-2. Clinical and cognitive evaluations were longitudinally performed at Baseline, Post-1, and Post-2 time points to explore associations with the spindle density changes. The PSG data from 12 of 14 patients was analyzed to identify sleep spindles across the sleep stages II–IV at four electrode sites: F3, F4, P3, and P4. Statistical analysis by two-way ANOVA revealed that spindle density at F3 increased at Post-1 but decreased at Post-2 time points. Moreover, the local and transient increase of spindle density at F3 was associated with the previously reported SWA power increase at F3, possibly reflecting a shared mechanism of thalamocortical synchronization locally enhanced by diurnal prefrontal rTMS sessions. Clinical and cognitive correlations were not observed in this dataset. These findings suggest that diurnal rTMS sessions transiently modulate nocturnal sleep spindle activity at the stimulation site, although clinical and cognitive effects of the local changes warrant further investigation. (shrink)

Freezing of gait is a common symptom in the late stages of Parkinson’s disease and related disorders. Videos are the gold standard method to conduct FOG scoring; however, the measurement accuracy of FOG scoring based on videos has not been formally assessed, despite its use in previous studies. This study aimed to calculate the measurement accuracy of video-based FOG scoring. Three evaluators scored the FOG based on 157 video data points collected from 21 patients using an annotation tool. One evaluator (...) measured the intra-rater reliability of the retest. The total duration of observed FOG, percentage of the time spent with FOG during the walking task, and FOG phenotypes were evaluated. Intraclass correlation coefficients were used to determine the intra- and inter-rater reliabilities. The duration of FOG and %FOG showed good measurement accuracy for both intra-rater and inter-rater reliabilities. However, the FOG phenotypes showed poor measurement accuracy in inter-rater reliability. These results indicate that the temporal characteristics of FOG can be scored with a high degree of measurement accuracy, even with different evaluators; conversely, the FOG phenotypes need to be scored by several evaluators. (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)

Does consciousness have non-instrumental aesthetic value? This paper answers this question affirmatively by arguing that consciousness is sublime. The argument consists of three premises. (1) An awe experience of an object provides prima facie justification to believe that the object is sublime. (2) I have an awe experience about consciousness through introspecting three features of consciousness, namely the mystery of consciousness, the connection between consciousness and well-being, and the phenomenological complexity of consciousness. (3) There is no good defeater of the (...) justificatory force of my feeling of awe for the sublime of consciousness. To defend the third premise, I argue against two potential defeaters: The first is that most people do not regard consciousness as sublime. The second is that there do not seem to be physical properties that can ground the sublimity of consciousness. I conclude by emphasizing an important ethical implication of the thesis that consciousness is sublime, namely that it explains why even conscious subjects who cannot have valenced experiences deserve moral consideration. (shrink)

Naïve realists hold that the phenomenology of veridical perceptual experience is in part constituted by environmental objects that the subject is perceiving. Although naïve realism is well-motivated by considering the cognitive and epistemic roles of the phenomenology of veridical perceptual experience, it is considered difficult to explain hallucinatory and imaginative experiences. This paper provides three arguments to address these explanatory problems systematically on behalf of naïve realism. First, I argue that the imagination view of hallucination (IH), which states that hallucinations (...) are involuntary sensory imagination, can be applied to total and neutrally matching hallucinations. Second, I argue for the conjunction of IH and the representational view of imagination (RI), according to which sensory imagination (including hallucination) is representational (shortly RIH). Third, I argue that naïve realism can coherently be integrated with RIH. I finally present an integrative model of perception, imagination and hallucination from the perspective of the combination of naïve realism and RIH. (shrink)

中国古代(おもに戦国期~漢代初期)の新出土文献を検討により、古代思想史の空白を埋め、その変遷過程を明らかにする。.

This paper examines prospects for and content of a global regime for human rights. Competing schools of thought forecast convergence and divergence of national standards under stress of globalization. No such regime exists, and there is no compelling theory of international corporate social responsibility. However, elements of an emerging global regime can be identified and partially overlap with environmental protection issues. This regime is highly fragmented, underdeveloped, and only partially enforceable—but it is in development. The UN Global Compact, the Global (...) Reporting Initiative (GRI), ISO 26000 (expected in 2010), the U.S. Alien Tort Claims Act (ATCA) of 1789 and the permanent international criminal court established in 2002 are illustrations of such elements. The third Ruggie Report, issued 2008, is an important summary of conditions and proposes a strategy for forward progress. Human rights impose important obligations on multinational enterprises (MNEs) operating across highly diverse political, legal, and cultural realities. (shrink)

We propose an efficient algorithm for deciding the reachability between any nodes on XML data represented by connected directed graphs. We develop a technique to reduce the size of the reference table for the reachability test. Using the small table and the standard range labeling method for rooted ordered trees, we show that our algorithm answers almost queries in a constant time preserving the space efficiency and a reasonable preprocessing time.

This article proposes a methodological schema for engaging in a productive discussion of ethical issues regarding human brain organoids, which are three-dimensional cortical neural tissues created using human pluripotent stem cells. Although moral consideration of HBOs significantly involves the possibility that they have consciousness, there is no widely accepted procedure to determine whether HBOs are conscious. Given that this is the case, it has been argued that we should adopt a precautionary principle about consciousness according to which, if we are (...) not certain whether HBOs have consciousness—and where treating HBOs as not having consciousness may cause harm to them—we should proceed as if they do have consciousness. This article emphasizes a methodological advantage of adopting the precautionary principle: it enables us to sidestep the question of whether HBOs have consciousness and, instead, directly address the question of what kinds of conscious experiences HBOs can have, where the what-kind-question is more tractable than the whether-question. By addressing the what-kind-question, we will be able to examine how much moral consideration HBOs deserve. With this in mind, this article confronts the what-kind-question with the assistance of experimental studies of consciousness and suggests an ethical framework which supports restricting the creation and use of HBOs in bioscience. (shrink)

The aesthetic tradition has identified as paradigmatically sublime such objects as imposing mountains and intense storms, as well as monumental art. But the tradition also acknowledges less paradigmatic cases, including sometimes mathematical structures or abstract concepts. In this paper, we argue that there is also a case for considering phenomenal consciousness – the experiential quality of subjective awareness – as a sublime phenomenon. One appreciates this, we argue, when one is struck by (fitting) awe upon contemplating (a) the perplexing existence (...) of something like phenomenal consciousness in an otherwise completely material universe and (b) the role of consciousness in injecting meaning and value in an otherwise brutally factual reality. (shrink)

Since the collapse of the bubble economy at the beginning of the 1990s, Japan has been in secular stagnation. Despite the stagnant economic conditions, the rate of profit has been rising, not falling. The coexistence of the rise in profitability and prolonged economic stagnation is a manifestation of the fundamental contradiction of present-day Japanese capitalism. Marx’s law of the tendency of the rate of profit to fall (LTRPF) provides a consistent explanation regarding the paradoxical situation in Japan characterised not by (...) a falling but a rising rate of profit. Meanwhile, this paper discusses the Monopoly Capitalism school, which has studied capitalist behaviour concerning productive investment and changes in the form of capitalist competition at the monopoly stage of capitalism. While the school’s negation of the LTRPF is unacceptable, their notions may provide useful explanations as to why the rate of profit has risen under secular stagnation in Japan. (shrink)

This paper argues that naïve realism has an epistemic advantage over other rival views. The argument consists of two steps. First, I argue that the phenomenology of veridical visual experience plays an indispensable role in explaining how we can refer to the experience as a justificatory reason for a demonstrative judgment. Second, I argue that only naïve realism can coherently allow a veridical visual experience to be used as a factive reason.

The empirical basis for self-control in Dohsa-hou as it relates to effects on cognitive processes has been explored in a few studies of the Japanese psychotherapy, but not under standardized conditions with a strong predictive theory of control. This study reports on a series of experiments with the Dual Mechanisms of Control framework to clarify the possible regulatory mechanism of Dohsa-hou by focusing on shoulder movement, a key body movement task used by practitioners across applied settings. Cognitive control was operationalized (...) with the AX version of Continuous Performance Test paradigm for proactive control and a modified Stroop task paradigm for reactive control in a 3-arm parallel group trial study design. Healthy Japanese university students were assigned to a Dohsa-hou group that performed a shoulder movement task for few minutes, an active control group that performed a similar task, or a passive control group comprised of a resting condition. A total of 55 participants performed the AX-CPT and 57 participants performed the modified Stroop task before and after the group manipulation. In the AX-CPT, an increase in the error rate of AY trial from pre- to post-test was observed in the passive control group only, and found to be marginally higher in the passive control group relative to Dohsa-hou group at post-test. This indicated that Dohsa-hou moderated the activation of proactive control by repeated AX-CPT performance. The error rate of the Proactive Behavioral Index did not differ from zero at post-test only in the Dohsa-hou group, indicating flexible cognitive control. In the modified Stroop task, there was no difference between congruent and incongruent trials at post-test for the Dohsa-hou group only, indicating the facilitation of reactive control. The evidence for a balancing effect for the Dohsa-hou-based shoulder movement task indicates that clients experience a form of continuous self-monitoring, which might reduce mind-wandering from their focus on movement execution combined with iterative verbal feedback from the therapist. Overall, the results of the present study suggest that the self-regulatory mechanism promoted in clinical Dohsa-hou emphasizes guided shifts in attention to the reactive mode toward a balance of cognitive control. (shrink)

The aggregation of individual judgments on logically connected issues often leads to collective inconsistency. This study examines two collective decision-making procedures designed to avoid such inconsistency—one premise-based and the other conclusion-based. While the relative desirability of the two procedures has been studied extensively from a theoretical perspective, the preference of individuals regarding the two procedures has been less studied empirically. In the present study, a scenario-based questionnaire survey of participant preferences for the two procedures was conducted, taking into consideration prevailing (...) social norms in the society to which the participants belong and the heterogeneity of the participants’ past experiences. Results show that a minority opinion not matching a prevailing social norm is more likely to be supported when the conclusion-based procedure is used. This can be explained by a basic property of the conclusion-based procedure: The procedure does not require voters to reveal their reasons for reaching a particular conclusion. This property proves appealing for participants who have a minority opinion. Such a finding is highly relevant to future studies on strategic behaviors in choosing a collective decision-making procedure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 12-19 [Access article in PDF] The Concept of Freedom in Art Education in Japan The concept of freedom has played a very important role in art education in Japan. Needless to say, freedom has been regarded as an essential principle of education in the West. Writers from Jean Jacques Rousseau to John Dewey stressed the significance of freedom in education. Especially, in (...) the field of art education, Frantz Cizek, Viktor Lowenfeld, and Herbert Read emphasized the importance of children's free expression in relation to creativity. This article examines the concept of freedom in art education in Japan, focusing on the ideas of two major non-governmental movements in art education; the Free-Expression Movement in the 1920s and the Creative Aesthetic Education Movement in the 1950s-1960s. Although both movements have already declined, their impacts are still felt in Japanese art education. The Beginning of Art Education in Japan In the early Meiji Era (1868-1912), art education was introduced to Japan when the modern school system was imported from the West. In 1872, the first government drawing textbook; Seiga Shinan [Guide to Western Pictures] was published based on a Japanese translation of British drawing manuals. 1 In this period, the purpose of art class was to teach the basic skill of mechanical drawing for industrial development; the method consisted of merely copying model pictures in the drawing textbook. In 1910, Akira Shirahama, who spent three years in Europe and the United States surveying art education, edited Shintei Gacho [New Textbook of Drawing]. As Okazaki points out, Shirahama, who was impressed by the art curriculum in the public schools of the United States, referred to the importance of children's creative imagination; however, the new textbook did not fully reflect the idea. 2 Thus, the practice of art class was limited to copying textbooks, and children's free expression was not considered important in art class. Until this period, the issue of freedom did not correlate to art education. The Free Expression Movement in the Taisho Era After the World War I, a democratic movement prevailed during the Taisho Era (1912-1926) in Japan. This movement, called Taisho Democracy, influenced various parts of Japanese life including politics. In the field of education, many democratic ideas of education were introduced from the West and books on progressive educational thought such as John Dewey's Democracy and Education were translated into Japanese. Child-centered education also became popular among progressive teachers. During this period, Jiyuga KyouikuUndo, the Free-Drawing Education movement, was started by Kanae Yamamoto. Okazaki describes this epoch-making movement as "the remarkable movement of art education in 1919 which began to change art education philosophy." 3 It was the first time the issue of freedom was raised in art education in Japan. [End Page 13] Yamamoto's Concept of Freedom Kanae Yamamoto, born in 1882, studied Western painting at the Tokyo Fine Arts School. After graduation, he started his career as a print artist and set off for Europe in 1912. He stayed in France to study art and experienced the much freer atmosphere in Europe compared to Japan. When he returned to Japan via Russia in 1916, he encountered an exhibition of children's paintings in Moscow. The free expression of the Russian children's paintings deeply impressed him.After Yamamoto's return from Europe, he organized the first exhibition of children's free painting in Japan and established Japan Children's Free Drawing Association in 1919. The exhibition was given great attention by the public, who, influenced by the Taisho democratic movement, was becoming very interested in democratic education. Yamamoto's book; Free Drawing Education was published in 1921. In his usage, the term "freedom" is sometimes synonymous with creativity. 4 He explained the meaning of freedom in his education theory: Our education of freedom is not to educate as teachers like. It is not a worship of freedom showing the model of freedom but to teach freedom itself....In my belief, the essence of human beings will never... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 12-19 [Access article in PDF] The Concept of Freedom in Art Education in Japan The concept of freedom has played a very important role in art education in Japan. Needless to say, freedom has been regarded as an essential principle of education in the West. Writers from Jean Jacques Rousseau to John Dewey stressed the significance of freedom in education. Especially, in (...) the field of art education, Frantz Cizek, Viktor Lowenfeld, and Herbert Read emphasized the importance of children's free expression in relation to creativity. This article examines the concept of freedom in art education in Japan, focusing on the ideas of two major non-governmental movements in art education; the Free-Expression Movement in the 1920s and the Creative Aesthetic Education Movement in the 1950s-1960s. Although both movements have already declined, their impacts are still felt in Japanese art education. The Beginning of Art Education in Japan In the early Meiji Era (1868-1912), art education was introduced to Japan when the modern school system was imported from the West. In 1872, the first government drawing textbook; Seiga Shinan [Guide to Western Pictures] was published based on a Japanese translation of British drawing manuals. 1 In this period, the purpose of art class was to teach the basic skill of mechanical drawing for industrial development; the method consisted of merely copying model pictures in the drawing textbook. In 1910, Akira Shirahama, who spent three years in Europe and the United States surveying art education, edited Shintei Gacho [New Textbook of Drawing]. As Okazaki points out, Shirahama, who was impressed by the art curriculum in the public schools of the United States, referred to the importance of children's creative imagination; however, the new textbook did not fully reflect the idea. 2 Thus, the practice of art class was limited to copying textbooks, and children's free expression was not considered important in art class. Until this period, the issue of freedom did not correlate to art education. The Free Expression Movement in the Taisho Era After the World War I, a democratic movement prevailed during the Taisho Era (1912-1926) in Japan. This movement, called Taisho Democracy, influenced various parts of Japanese life including politics. In the field of education, many democratic ideas of education were introduced from the West and books on progressive educational thought such as John Dewey's Democracy and Education were translated into Japanese. Child-centered education also became popular among progressive teachers. During this period, Jiyuga KyouikuUndo, the Free-Drawing Education movement, was started by Kanae Yamamoto. Okazaki describes this epoch-making movement as "the remarkable movement of art education in 1919 which began to change art education philosophy." 3 It was the first time the issue of freedom was raised in art education in Japan. [End Page 13] Yamamoto's Concept of Freedom Kanae Yamamoto, born in 1882, studied Western painting at the Tokyo Fine Arts School. After graduation, he started his career as a print artist and set off for Europe in 1912. He stayed in France to study art and experienced the much freer atmosphere in Europe compared to Japan. When he returned to Japan via Russia in 1916, he encountered an exhibition of children's paintings in Moscow. The free expression of the Russian children's paintings deeply impressed him.After Yamamoto's return from Europe, he organized the first exhibition of children's free painting in Japan and established Japan Children's Free Drawing Association in 1919. The exhibition was given great attention by the public, who, influenced by the Taisho democratic movement, was becoming very interested in democratic education. Yamamoto's book; Free Drawing Education was published in 1921. In his usage, the term "freedom" is sometimes synonymous with creativity. 4 He explained the meaning of freedom in his education theory: Our education of freedom is not to educate as teachers like. It is not a worship of freedom showing the model of freedom but to teach freedom itself....In my belief, the essence of human beings will never... (shrink)

This paper aims to uncover where the disagreement between illusionism and anti-illusionism about phenomenal consciousness lies fundamentally. While illusionists claim that phenomenal consciousness does not exist, many philosophers of mind regard illusionism as ridiculous, stating that the existence of phenomenal consciousness cannot be reasonably doubted. The question is, why does such a radical disagreement occur? To address this question, I list various characterisations of the term “phenomenal consciousness”: (1) the what-it-is-like locution, (2) inner ostension, (3) thought experiments such as philosophical (...) zombies, inverted qualia and Mary’s room, (4) scientific knowledge about secondary properties, (5) theoretical properties such as being ineffable and being intrinsic, and (6) appearance/reality collapse. Then I examine whether each characterization provides (i) a dubitable sense of phenomenal consciousness in which the existence of phenomenal consciousness can be reasonably doubted, (ii) an indubitable sense in which its existence cannot be reasonably doubted, or (iii) a gray sense in which it is controversial whether its existence can be reasonably doubted. By doing so, I show that there is no single sense of phenomenal consciousness in which illusionists and anti-illusionists disagree whether the existence of phenomenal consciousness can be reasonably doubted. I conclude that the disagreement between illusionists and anti-illusionists is fundamentally terminological: while illusionists adopt a dubitable sense of phenomenal consciousness, anti-illusionists adopt an indubitable sense of phenomenal consciousness. Because of the extreme vagueness and ambiguity of the term “phenomenal consciousness”, illusionists and anti-illusionists fail to see that they talk about different senses of phenomenal consciousness. (shrink)

In this paper, we investigate processes involving iterative information updating due to van Benthem (Int Game Theory Rev 9: 13—45, 2007), who characterized existent game-theoretic solution concepts by such processes in the framework of Plaza's public announcement logic. We refine this approach and clarify the relationship between stable strategies and information update processes. After extending Plaza's logic, we then derive the conditions under which a stable outcome is determined independently of the order of the iterative information updates. This result gives (...) an epistemic foundation for the order independence of iterated elimination of disadvantageous strategies. (shrink)

技術が進歩すればするほど、技術者に対する信頼が必要となる。技術者は専門職として、どんな倫理をもたねばならないのか。それはほかの専門職の倫理とは違うのか?「技術者は公衆の安全・健康・福利を最優先しなけれ ばならない」という理念にもとづいて指針を示したテキストを、原発事故や製造物責任などの最新事例をふまえて改訂!

This paper proposes a classificatory framework for disjunctivism about the phenomenology of visual perceptual experience. Disjunctivism of this sort is typically divided into positive and negative disjunctivism. This distinction successfully reflects the disagreement amongst disjunctivists regarding the explanatory status of the introspective indiscriminability of veridical perception and hallucination. However, it is unsatisfactory in two respects. First, it cannot accommodate eliminativism about the phenomenology of hallucination. Second, the class of positive disjunctivism is too coarse-grained to provide an informative overview of the (...) current dialectical landscape. Given this, I propose a classificatory framework which preserves the positive-negative distinction, but which also includes the distinction between eliminativism and non-eliminativism, as well as a distinction between two subclasses of positive disjunctivism. In describing each class in detail, I specify who takes up each position in the existing literature, and demonstrate that this classificatory framework can disambiguate some existing disjunctivist views. (shrink)

This paper argues for the conjunctive thesis of naïve realism and phenomenal intentionalism about perceptual experiences. Naïve realism holds that the phenomenology of veridical perceptual experience is constituted by environmental objects that the subject perceives. Phenomenal intentionalism about perceptual experience states that perceptual experience has intentionality in virtue of its phenomenology. I first argue that naïve realism is not incompatible with phenomenal intentionalism. I then argue that phenomenal intentionalists can handle two objections to it by adopting naïve realism: the first (...) objection is that phenomenal intentionalism cannot explain how a veridical perceptual experience is directed at a particular object rather than any other object of the same kind. The second objection is that phenomenal intentionalism cannot explain how a perceptual experience is directed at a type of external object rather than other types of objects without appealing to a resemblance relation between a perceptual experience and an external object, which is considered to be problematic. (shrink)

In the target article, Zilio and Lavazza (2023) persuasively argue that an ontological analysis of human cerebral organoids (HCOs) is necessary to identify their moral status. Although they also pr...

IntroductionPrevious transcranial magnetic stimulation studies have revealed that the activity of the primary motor cortex ipsilateral to an active hand plays an important role in motor control. The aim of this study was to investigate whether the ipsi-M1 excitability would be influenced by goal-directed movement and laterality during unilateral finger movements.MethodTen healthy right-handed subjects performed four finger tapping tasks with the index finger: simple tapping task, Real-word task, Pseudoword task, and Visually guided tapping task. In the Tap task, the subject (...) performed self-paced simple tapping on a touch screen. In the real-word task, the subject tapped letters displayed on the screen one by one to create a Real-word. Because the action had a specific purpose, this task was considered to be goal-directed as compared to the Tap task. In the Pseudoword task, the subject tapped the letters to create a pseudoword in the same manner as in the Real-word task; however, the word was less meaningful. In the VT task, the subject was required to touch a series of illuminated buttons. This task was considered to be less goal-directed than the Pseudoword task. The tasks were performed with the right and left hand, and a rest condition was added as control. Single- and paired-pulse TMS were applied to the ipsi-M1 to measure corticospinal excitability and short- and long-interval intracortical inhibition in the resting first dorsal interosseous muscle.ResultsWe found the smaller SICI in the ipsi-M1 during the VT task compared with the resting condition. Further, both SICI and LICI were smaller in the right than in the left M1, regardless of the task conditions.DiscussionWe found that SICI in the ipsi-M1 is smaller during visual illumination-guided finger movement than during the resting condition. Our finding provides basic data for designing a rehabilitation program that modulates the M1 ipsilateral to the moving limb, for example, for post-stroke patients with severe hemiparesis. (shrink)

1. Tōzai bunka no kōryū -- 2. Shōtoku Taishi -- 3. Kinsei Nihon no hihanteki seishin -- 4. Nihon shūkyō no kindaisei.