The author proposes the development of systems learning guidebooks to accompany famous children's classic books. Children's classic books can make excellent bases for children's learning guidebooks on systems thinking and global ecology, because they are fun to read and well known worldwide. If such learning guidebooks are properly designed with humor and entertaining aspects, they could stimulate children to learn more about systems thinking. Lewis Carroll's Alice's Adventures in Wonderland is chosen as a pilot case for developing such a children's (...) guidebook. The systems learning guidebook that accompanies Alice's Wonderland shall be entitled Alice in Systems Wonderland and will help its readers look at the Alice's Wonderland story with a systems perspective. (shrink)

It is one of the peculiar features of the movement of translation of Western scientific treatises from Dutch into Japanese, known as Dutch learning , that if first originated in Nagasaki with a group of Japanese interpreters. This group differed from the scholarly community of the capital, Edo, by both training and social status. This article shows how this difference contributes to explaining some of the particularities of rangaku in its initial phase. A case in point is Shizuki Tadao's introduction (...) of Newtonian physics and astronomy. Yet, Sugita Genpaku, a major representative of the Edo scholarly community, gave an account of the beginning of Dutch learning that attempted to minimise, or even to erase, the contribution of the Nagasaki interpreters, who were dismissed as unscholarly. This attempt, too, is best understood in the light of the difference between the two communities. (shrink)

As its name implies, Vasubandhu’s _Vyākhyāyukti_ (VyY) explains the logic or methodology (_yukti_) of exegesis or sūtra interpretation (_vyākhyā_) and only survives in a Tibetan translation. In recent years, research on this treatise has been gradually accumulating. However, due to the difficulty of the Tibetan translation, some of the arguments therein have been misunderstood. In this article, after reviewing the general framework of Vasubandhu’s method of interpreting the sūtras, I will present a newly discovered parallel regarding his discussion of the (...) “purpose, _prayojana_” of the sūtras and reread it through a close philological examination of various sources in Sanskrit and Tibetan. Thus, this article will first elucidate the details of Vasubandhu’s explanation of the purpose of the Buddha’s preaching using synonyms and will clarify an aspect of his views on the Buddha’s word. In addition, concerning this “purpose,” I will elucidate the characteristics of the final chapter of this text, which provides stories about hearing the Buddha’s words with respect. By doing so, I would like to reveal the characteristics of the VyY as a manual for vivid preaching. (shrink)

The largest transcriptome reported so far comprises 60,770 mouse full‐length cDNA clones, and is an effective reference data set for comparative transcriptomics. The number of mouse cDNAs identified greatly exceeds the number of genes predicted from the sequenced human and mouse genomes. This is largely because of extensive alternative splicing and the presence of many non‐coding RNAs (ncRNAs), which are difficult to predict from genomic sequences. Notably, ncRNAs are a major component of the transcriptomes of higher organisms, and many sense–antisense (...) pairs have been identified. The ncRNAs function in a range of regulatory mechanisms for gene expression and other biological processes. They might also have contributed to the increased functional diversification of genomes during evolution. In this review, we discuss aspects of the transcriptome of various organisms in relation to the mouse data, in order to shed light on the regulatory mechanisms and physiological significance of these abundant RNAs. BioEssays 26:833–843, 2004. © 2004 Wiley Periodicals, Inc. (shrink)

Iron Eyes: The Life and Teachings of Obaku Zen Master Tetsugen Doko, Helen J. Baroni, pp. ix+259, ISBN 0-7914-6892-5.

Media, politicians, and the courts portray college campuses as divided over diversity and affirmative action. But what do students and faculty really think? This book uses a novel technique to elicit honest opinions from students and faculty and measure preferences for diversity in undergraduate admissions and faculty recruitment at seven major universities, breaking out attitudes by participants' race, ethnicity, gender, socio-economic status, and political partisanship. Scholarly excellence is a top priority everywhere, but the authors show that when students consider individual (...) candidates, they favor members of all traditionally underrepresented groups - by race, ethnicity, gender, and socio-economic background. Moreover, there is little evidence of polarization in the attitudes of different student groups. The book reveals that campus communities are less deeply divided than they are often portrayed to be; although affirmative action remains controversial in the abstract, there is broad support for prioritizing diversity in practice. (shrink)

Mediator is a coregulatory complex that plays essential roles in multiple processes of transcription regulation. One of the human Mediator subunits, MED26, has a role in recruitment of the super elongation complex (SEC) to polyadenylated genes and little elongation complex (LEC) to non‐polyadenylated genes, including small nuclear RNAs (snRNAs) and replication‐dependent histone (RDH) genes. MED26‐containing Mediator plays a role in 3′ Pol II pausing at the proximal region of transcript end sites in RDH genes through recruitment of Cajal bodies (CBs) (...) to histone locus bodies (HLBs). This finding suggests that Mediator is involved in the association of CBs with HLBs to facilitate 3′ Pol II pausing and subsequent 3′‐end processing by supplying 3′‐end processing factors from CBs. Thus, we argue the possibility that Mediator is involved in the organization of nuclear bodies to orchestrate multiple processes of gene transcription. (shrink)

Previous research (e.g., Horiuchi, Goldsmith, and Inoguchi, 2005) has shown some intriguing patterns of effects of several variables on international public opinion about US foreign policy. But results for the theoretically appealing effects of regime type and post-materialist values have been weak or inconsistent. This paper takes a closer look at the relationship between these two variables and international public opinion about US foreign policy. In particular, international reaction to the wars in Afghanistan (2001) and Iraq (2003) are examined (...) using two major multinational surveys. The conclusions of previous research are largely reinforced: neither regime type nor post-materialist values appears to robustly influence global opinion on these events. Rather, some central interests, including levels of trade with the US and NATO membership, and key socialized factors, including a Muslim population, experience with terrorism, and the exceptional experiences of two states (Israel, Albania) emerge as the most important factors in the models. There is also a consistent backlash effect of security cooperation with the US outside of NATO. A discussion of these preliminary results points to their theoretical implications and their significance for further investigation into the transnational dynamics of public opinion and foreign policy. (shrink)

A critical review of five articles that appeared in the special issue of Acta Asiatica, i.e. • Saitō, Akira. “Avalokiteśvara in the Prajñāpāramitāhṛdaya.” • Watanabe, Shōgo. “The Lineage of the Prajñāpāramitāhṛdaya: With a Focus on Its Introduction and Expressions of Emptiness.” • Horiuchi, Toshio. “Revisiting the ‘Indian’ Commentaries on the Prajñāpāramitāhṛdaya: Vimalamitra’s Interpretation of the Eight Aspects.” • Ishii, Kōsei. “The Chinese Texts and Sanskrit Text of the Prajñāpāramitāhṛdaya Seen by Wŏnch’ŭk 円測.” • Silk, Jonathan A. “The Heart Sūtra (...) as Dhāraṇī.” -/- My overall impression of Frontier is that the authors are committed to a hermeneutic dictated by the Buddhist religion itself, that the Heart Sutra is an Indian text, composed in Sanskrit. The articles in Frontier seem to suggest that no counterfactual evidence exists, or could exist, that would change this conclusion. (shrink)

continent. 2.1 (2012): 2–5 To begin with, as we understand from a remote place like Seoul, there have been two different conceptions of materiality in the Western experimental ?lm history: materiality of cinema and of ?lm. The former has been represented by the practitioners of the so-called the “Expanded Cinema” and the latter by the tradition of the “Hand-made” ?lm. Whereas for the Expanded Cinema, the materiality or the “medium-speci?city” includes not only the ?lm material but also the entire condition (...) and environment in which the cinematic experience is situated (i.e.: screen, projector, audience and theatre); for the Hand-made ?lm, it is the whole ?lmic process prior to the screening in front of the audience (i.e.: hand-processing and optical-printing). The two practices share in the materialist turn that opens up the radical possibilities of aesthetic (and even political) interventions into a process previously considered seamless and transparent. What can be called to attention through the materialist turn includes the aesthetic-institutional process in the projection-spectator relation and the (non-) representational process in ?lm-making. Moreover, these interventions bring their own temporalities back to those processes, and this returning emancipates the temporalities from their subordination to the cinema-as-commodity. Hangjun Lee is a ?lm-based artist whose practice is concerned with Hand-made Film and Experimental Cinema. Given these interests, Lee questions the linkage between materiality and temporality. This was his preoccupation around 2006, the time at which he started to collaborate with Chulki Hong, the noise improviser. The improvisational nature of their audio-visual performances opened means of detouring from the conventional editing techniques. Their collaboration also afforded critical investigations into the performativity of the practices in both the darkroom and the screening room, as well as in the private recording/practicing studio, and public performance spaces for the improvising musician. In fact, it was a kind of common interest shared by both us from the outset. In our collaboration, we avoid sacri?cing/concealing/minimizing one form of performativity (the performative nature and temporality of compositional process) for the sake of the other (i.e. those in improvisational and executional process). In the ?eld of experimental music and sound, this kind of approach has been comprehensively called “cracking” or “hacking”. The concepts are ?nely formulated in the coinage of “Cracked Everyday Electronics” (by Voice Crack) or more generally “Handmade Electronic Music” (by Nicolas Collins). 1 And this was a pure but perhaps necessary coincidence. the original title of the work of our collaboration and, retrospectively, of the set of our working principles at the same time, “The Cracked Share” was named by Lee after Georges Bataille’s masterwork, The Accursed Share , with the substitution of the adjective with “Cracked” as a synonym for ‘reticulated’ in the photographic image. We think the ascetic and subtractive aesthetic turn of the contemporary non-idiomatic improvised (and even somewhat non-improvised) music 2 pushed us further towards more radical dissociation with the empty temporality of commodi?ed audio-visual experience. It can be called the aesthetics of “without,” and exemplars include Yoshihide Otomo’s Turntable Without Records , Sachiko M’s Sampler without Samples . There are also other radical experiments even with the (non-)improvised music without noise and sounds that neatly meet the rules and idioms of the existing/established experimental music. For us, this thread among the experimental music currents weighs in its emphasis on subtractive and dissociational power unique to improvisational action. Surely, the tradition of the Cracked and Handmade improvised music teaches us the crucial lesson that “[m]edia and mediation are never transparent” and that “[m]ediation actively transforms data from one form to another and is never passive.” 3 We couldn’t agree to this statement more. However, without the removal and withdrawal power of improvisation that poses and keeps both subjects (performer and audience) and objects (projector and instrument) in “inferiority,” 4 generalized cracking and hacking practices—or simply “glitch”—in music and visuals would be either sublimated into the mystical and ritualistic forms of “Film Alchemy” and “Noise Music” (to which both of us still strongly feel a belonging but also, more or less, ambivalent sentiments), or else assimilated into the logic of the commodi?ed audio-visual communication. Today in music, this principle of improvisational performativity should be formulated as the dis-organization of sound against the associational de?nition of (electronic) music and it needs to be translated into audio-visual experiences. In other words, cracking practices of free improvisation need not be limited in artistic creativity, in a darkroom, in a studio, or on the stage; the principle of the dis-organization of sound should be the principle of dis-organization (or cracked organization) of audio-visual performance space itself. NOTES 1) Norbert Möslang, “How Does a Bicycle Light Sound?: Cracked Everyday Electronics,” Leonardo Music Journal 14 (2004): 83; Nicolas Collins, Handmade Electronic Music: The Art of Hardware Hacking (New York: Rutledge, 2006). 2) We refer this not to the historical style or genre but rather the idea and practice that ?free improvisation? stands for. On the distinction between idiomatic and non-idiomatic improvisation, see Derek Bailey, Improvisation: Its Nature and Practice in Music (Cambridge, MA: Da Capo, 1993). On radically politico-histrorical interpretations of free improvisation and noise music from various present viewpoints, see Noise and Capitalism , (eds.) Mattin & Anthony Iles (Arteleku Audiolab, 2009). 3) Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge: MIT Press, 2009), p. 29. 4) I borrow the term from my long-time collaborator, Choi Joonyong. See Ryu Hankil, Hong Chulki & Choi Joonyong, Inferior Sounds (Balloon and Needle, CD, 2011). (shrink)