Japan's remarkable economic success especially from the 1960s to the 1980s has attracted extensive worldwide attention. However, the world's admiration has plummeted since the 1990s, when the Bubble Economy burst, bringing on chronic stagnation. Since then, the world has regarded the Japanese economy less as a desirable model and more as an evident failure with many lessons for other economies. These external judgments, positive and negative, have also affected how the Japanese perceive their own economy. This article reviews how these (...) domestic and international perceptions of Japan's economy have varied. It situates the companion articles by Hwang (2012) and Harada (2012) in the historical context of studies of the Japanese economy. This article especially discusses one recurring fixation that muddles comprehension of factors underpinning Japan's economic success and failure: the tendency to overestimate characteristics that supposedly are specific to Japan and different from other market-oriented economies. From the 1960s through the 1980s, scholars, commentators, policy-makers, and the public insisted these characteristics were singular and significant contributors to Japan's remarkable economic development. Since the 1990s, they have considered them the root causes of Japan's remarkable stagnation. Both are exaggerations. Although some singularly Japanese attributes perhaps contributed to Japan's economic ascent and decline, it is equally plausible they did not. It is more likely that poorly conceived and executed macroeconomic policies, especially monetary policy, had greater influence on Japan's post-1990s stagnation. (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)

It has been suggested that luminance edges in retinal images are potential cues for glossiness perception, particularly when the perception relies on low-luminance specular regions. However, a previous study has shown only statistical correlations between luminance edges and perceived glossiness, not their causal relations. Additionally, although specular components should be embedded at various spatial frequencies depending on the micro-roughness on the object surface, it is not well understood what spatial frequencies are essential for glossiness perception on objects with different micro-roughness. (...) To address these issues, we examined the impact of a sub-band contrast enhancement on the perceived glossiness in the two conditions of stimuli: the Full condition where the stimulus had natural specular components and the Dark condition where it had specular components only in dark regions. Object images with various degrees of surface roughness were generated as stimuli, and their contrast was increased in various spatial-frequency sub-bands. The results indicate that the enhancement of the sub-band contrast can significantly increase perceived glossiness as expected. Furthermore, the effectiveness of each spatial frequency band depends on the surface roughness in the Full condition. However, effective spatial frequencies are constant at a middle spatial frequency regardless of the stimulus surface roughness in the Dark condition. These results suggest that, for glossiness perception, our visual system depends on specular-related information embedded in high spatial frequency components but may change the dependency on spatial frequency based on the surface luminance to be judged. (shrink)

In the United States, property rights are afforded protection, but moral rights are not. Up until 1989, the United States adamantly refused to join the Berne Copyright Convention, the first multilateral copyright treaty, now ratified by seventy-eight countries. The American government refused to comply because the Berne Convention grants moral rights to authors. This international policy was—and is—incompatible with United States copyright law, which recognizes only economic rights. Although ten states have enacted some form of moral rights legislation, federal copyright (...) laws tend to prevail, and those are still wholly economic in their motivation. Indeed, the recent pressure for the United States to agree, at least in part, to the terms of the Berne Convention came only as a result of a dramatic increase in the international piracy of American records and films.In September 1986, Senator Edward M. Kennedy of Massachusetts first introduced a bill called the Visual Artists Rights Act. This bill attempts to amend federal copyright laws to incorporate some aspects of international moral rights protection. The Kennedy bill would prohibit the intentional distortion, mutilation, or destruction of works of art after they have been sold. Moreover, the act would empower artists to claim authorship, to receive royalties on subsequent sales, and to disclaim their authorship if the work were distorted.4 This legislation would have prevented Clement Greenburg and the other executors of David Smith’s estate from authorizing the stripping of paint from Several of Smith’s later sculptures so that they would resemble his earlier—and more marketable—unpainted sculptures. Such moral rights legislations would have prevented a Japanese bank in New York from removing and destroying a sculpture by Isamu Noguchi simply because the bank president did not like it. And such legislation would have prevented the United States government from destroying Tilted Arc. 4. Although this section appeared in the original version of Kennedy’s bill, the current version provides for a study of resale royalties. Richard Serra is known for his large-scale site-specific works in landscapes, urban environments, and museums. (shrink)