Nowadays virtual reality has gained extreme popularity among adolescents around the world, thanks to the possibility they offer to create a new life for their users. Especially for teenagers affected by the hikikomori syndrome, who experience struggles in establishing communication with others, virtual reality has become a tool to forsake their “adverse” reality, shaping fictitious safe environments and creating relationships with similar-minded users. This issue of virtual reality has been depicted in recent Japanese animation, whose country is mostly (...) affected by this issue. I will show mainly two approaches to the phenomenon: the one given in the anime series Sword Art Online (2012), in which virtual reality is perceived as the only place where true communication can happen; the second is the interpretation given by director Hosoda Mamoru in his animated features Summer Wars (2009) and Belle (2021), where virtual reality is a tool to support real life’s difficulties. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Anime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese AnimationJoseph MurphyAnime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. By Susan Napier. New York: St. Martin's Press, 2001. Pp. vii + 320.Certain progressions can be marked from Antonia Levi's Samurai from Outer Space in 1996 to Susan Napier's Anime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation in 2001. While both (...) survey the phenomenon of Japanese animation as consumed in North America, the palpable underdog subcultural context and sense of mission in Levi's earlier work has given way to a confident mainstream appreciation in Napier's, with the term "Japanese animation" replaced in English by the naturalized anime (a-ni-mé, pl. anime). In a fast-moving media phenomenon both were dated as soon as they were published; however, bolstered by the worldwide critical and financial success of Miyazaki Hayao's work, and contemporary with the exposure to youth by the rise of 24/7 cartoon networks and the runaway success of the card game-anime nexus, Napier's Anime finds itself still in the right historical moment. Though the book has limitations in terms of both its own systematicity and its treatment of potentially interesting philosophical themes in anime, it is a reliable and sometimes inspired guide to a new phenomenon that forms an increasingly important default in the background your students bring.Napier is concerned not so much with accounting for the visual and perceptual properties of anime as with its narrative qualities: "Japanese animation merits serious consideration as a narrative art form and not simply for its arresting visual style.... Much of this book will be an investigation into the themes, imagery, and ideas of some of the most memorable anime created over the last two decades" (p. 10). The strengths and weaknesses of this book are nicely summed up here. Concentrating on narrative—a formal property of storytelling transposable across media—allows a broad and well-chosen survey of themes, images, and ideas. However, there is some question as to whether this will allow the reader to satisfy the ambition to "understand what makes anime the distinctive art form it is" (p. 10).The book is comprised of twelve chapters in four parts. Part 1 is an introduction that argues for the importance of anime and sketches a quasi-Aristotelian method as the basis for Napier's taxonomy. Parts 2-4 cover major thematic divisions that characterize the particular obsessions, power, and drama of anime, and these are particularly well-chosen to reflect not just the relatively palatable work deemed suitable for TV or subtitled for video distribution in the United States but also the anarchic diversity of the phenomenon as it circulates in Japan. Part 2 is on the essential theme of the changeable body and includes discussion of the monstrous adolescent body, pornographic anime, and the cybernetic body, and will allow you to catch up with classic anime like Akira (1988), Ranma 1/2 (TV version, 1990s), and Ghost in the Shell (theater version, 1996). Part 3 is on fantasy and romance as genres and the unusual [End Page 493] space in anime for female leads, and includes discussion of Miyazaki's pastoral work and the comedy TV series Urusei Yatsura (1980s), Oh My Goddess (1980s), and Video Girl Ai (1990s). Part 4 discusses anime that have sought to make a self-conscious contribution to historical debate, including Barefoot Gen (1983) and Grave of the Fireflies (1988), on the bombing of Japanese cities in World War II, and Miyazaki's Princess Mononoke (1997), which presents a multicultural picture of Japan's past produced in consultation with Japan's leading ethnologists. Discussions are balanced and entertaining, introducing the major auteurs of the last twenty years (Oshii Mamoru, Otomo Katsuhiro, Takahashi Rumiko, etc.) and creating the sharp impression that the genre of anime is not the same as the American concept of "cartoons."Though the anime phenomenon raises interesting sociocultural and critical questions about narrative and image culture, it is not immediately certain that there is a philosophical issue to anime. One might seek this philosophical content within the medium itself or in a systematic quality... (shrink)

This study addresses the relationship between Japanese aesthetics and anime. There are three premises: (1) the abstract concepts promoted by Japanese aesthetics; (2) the abstract and the concrete coalesce in the visual domain; and (3) anime can help us appreciate many aspects of Japan's aesthetic legacy"--Provided by publisher.

Ongoing research on making “human-animal chimeras” or “animals containing human material” to solve the shortage of organs available for transplantation has raised many ethical issues regarding the creation and utilization of such constructs, including cultural views regarding the status of those creations. A pilot study was conducted to explore Japanese public attitudes toward human-animal chimeras or ACHM. The February 2012 study consisted of focus group interviews with citizens from the Greater Tokyo Area, aged between 20 and 54. The 24 (...) participants were divided into four groups. Transcripts of the interviews were analyzed and participants’ attitudes categorized. Five categories of participant attitudes were identified: resistance to the unnatural, concerns about animal welfare, concerns about controlling human-animal chimeras, concerns about the possible birth of intermediate entities, and resistance to creating and utilizing animals containing my material or my child’s material. Our FGI results showed a broader and greater variety of public concerns than those reported in previous studies. While researchers have tried to establish new methods to avoid creating intermediate entities, our participants expressed concerns about not only intermediate entities but also animals containing their own material or their child’s material. Based upon their responses in the interviews, we are introducing a new ethical concern: “animals containing my material/my child’s material.”. (shrink)

Since World War II Japanese artists have employed two seemingly contradictory ways of working, using aesthetics, materials, artistic methods technologies, and approaches that are either radically innovative and wildly experimental, or traditional/classical. Many other artists, however, in a move that seems paradoxical. have combined the two to explore the new themes of the post-atomic period. Three narrative works dealing with the effects of the World War II war effort and the atomic bombings that ended them, Yasunari Kawabata’s novel The (...) Sound of the Mountain (1952), Rio Kishida’s avant-garde play Thread Hell (1984), and the film Barefoot Gen (Hadashi no Gen), directed by Mori Masaki and written by Keiji Nakazawa (Masaki and Nakazawa 1983), exemplify this third approach. Set in the pre-War textile industry that enabled the War, during the atomic bombings, and the post-War American Occupation, all three explore the experience not only of the horrific objective effects of war but of the Japanese experience of psychic numbing, which damages the person’s sense of self and their sense of agency—their ability to act effectively in the world. All three utilize classical aesthetics to provide aesthetic experiences, for their readers/viewers, to make the experience of the work tolerable, and for their characters—to demonstrate the roles of positive aesthetic experience in making life worth while and in grounding a renewed sense of personal identity and selfhood in a self that has been shattered through trauma. (shrink)

Comparative environmental philosophy is valuable in many ways. Perhaps it is most valuable because it reveals some of the foundational assumptions that run so deep in the poles of comparison that they might otherwise have gone unnoticed. These revelations may invite us to challenge those assumptions that have led to the kind of thinking responsible for much of the environmental degradation that we see today. Japanese Environmental Philosophy gathers papers focused on the environmental problems of the twenty-first century. Drawing (...) from Japanese philosophical traditions they investigate our relationships with other humans, nonhuman animals, and the environment. The heart of the book consists of chapters written by fifteen top scholars from Japan, the United States, Europe, and Australia. The essays cover a broad range of topics drawn from various strains of Japanese thought—including Zen Buddhism, Shintoism, the Kyoto school, and Japanese philosophy of art and aesthetics—as well as from traditional Japanese culture and the contemporary science of planning for natural disasters. These articles demonstrate that Japanese scientific, philosophical, religious, and cultural traditions can provide meaningful insight to address the current global environmental crisis. (shrink)

In this paper I consider whether traditional behaviors of animals, like traditions of humans, are transmitted by imitation learning. Review of the literature on problem solving by captive primates, and detailed consideration of two widely cited instances of purported learning by imitation and of culture in free-living primates (sweet-potato washing by Japanese macaques and termite fishing by chimpanzees), suggests that nonhuman primates do not learn to solve problems by imitation. It may, therefore, be misleading to treat animal traditions and (...) human culture as homologous (rather than analogous) and to refer to animal traditions as cultural. (shrink)

In this paper, I propose the concept of the “animated persona,” a soundless voice that says, “I am here” and appears on the surface of someone or something. This concept can bring clarity to the experience of perceiving a kind of personhood on a corpse, a wooden mask, or even a tree. In the first half of this paper, I will examine some Japanese literature and a work of Viktor Frankl’s that discuss these phenomena. In the second half, I (...) will analyze the concept of animated persona from five perspectives: (1) a compelling power, (2) surface-ness, (3) religious experience, (4) universality, and (5) the meaning of “I.” Lastly, I will discuss the relationship among the three layers of biological object, animated persona, and self-conscious being. My aim is to shed new light on the meaning of the encounter between the living and the dead. (shrink)

ABSTRACT This paper explores philosophically the experiences of laughter and irony, focusing on Japanese sources but with a cross-cultural outlook. I ask whether globally unfavorable attitudes towards the comic in the European canon might have left unexplored or misunderstood several insights offered by the bodily and spiritual dimension revealed by laughter, and examine them through Japanese sources. Following a short but poignant triad of examples in Kuki Shūzō’s work, the paper analyses three instances of Japanese laughter and (...) irony: the orgiastic laughter of the gods luring Amaterasu out of the Heavenly Cave in Kojiki; the anthropomorphic animal scrolls of Chōjūgiga, and the “Tiger Cubs Crossing” stone garden in Ryōanji, Kyoto, concluding how each one of them offers an important insight on the bodily and conceptual phenomenological cluster of laughter and irony. I conclude with a further exploration of laughter in Zen, a religious tradition with a unique stress on the spiritual potential of humor, following Nishitani’s reading of Mumonkan and his connection to the experience of “emptiness”. (shrink)

The turn of the millennium has witnessed an extraordinary paradox—one identified by Jacques Derrida as a simultaneous increase in violence against nonhuman animals and compassion toward them. This article turns to critical legal theory as well as to recent work by continental philosophers on the human/animal distinction in order to make sense of the ways the paradox manifests in law, arguing that so-called animal welfare laws that appear to be politically progressive are, in fact, iterations of the very violence they (...) purport to redress. What legislation designates as “animal” has neither language nor a recognized image, which not only renders this singular object of law voiceless but also denies that object access to any experience of death, and thus, to life. Through a deconstruction of recently enacted Japanese “animal welfare” legislation, this article proposes that the inability of the legislator to think the animal as having a relation to death belies a deeper struggle at the heart of law itself, to constitute its subjects through language. (shrink)

A través del análisis del lenguaje audiovisual y la comprensión del proceso de creación de algunas de las series anime más destacadas de la última década, este artículo pretende establecer las cualidades estéticas y técnicas actuales más representativas de este modelo de animación. Unos aspectos significativos que podrían dar lugar a una nueva etapa en la historia de la animación japonesa, ya que no solo las técnicas de producción o difusión han seguido evolucionando sino también su narrativa y estética han (...) traspasado la frontera de lo establecido, desarrollando un proceso de creación tan eficiente que se ha convertido en un referente para las producciones occidentales. (shrink)

This article examines ethnographically the production of anime by focusing on how professional animators use characters and dramatic premises to organize their collaborative creativity. In contrast to much of the analysis of anime that focuses on the stories of particular media texts, I argue that a character-based analysis provides a critical perspective on how anime relates to broader transmedia phenomena, from licensed merchandise to fan activities. The ideas of characters, premises, and world-settings also specify in greater detail the logic of (...) anime production, which too often is glossed as emerging from a generalized Japanese culture, as in the ongoing debates about `cool Japan'. I conclude that an ethnographic approach to anime production through a focus on characters can offer new ways of thinking about what moves across media, what distinguishes anime from other media forms, and what gives anime its value. (shrink)

Tense/aspect morphology on verbs is often thought to depend on event features like telicity, but it is not known how speakers identify these features in visual scenes. To examine this question, we asked Japanese speakers to describe computer‐generated animations of simple actions with variation in visual features related to telicity. Experiments with adults and children found that they could use goal information in the animations to select appropriate past and progressive verb forms. They also produced a large number of (...) different verb forms. To explain these findings, a deep‐learning model of verb production from visual input was created that could produce a human‐like distribution of verb forms. It was able to use visual cues to select appropriate tense/aspect morphology. The model predicted that video duration would be related to verb complexity, and past tense production would increase when it received the endpoint as input. These predictions were confirmed in a third study with Japanese adults. This work suggests that verb production could be tightly linked to visual heuristics that support the understanding of events. (shrink)

Previous research suggests that children learning a variety of languages acquire similar early noun vocabularies and do so by similar and universal processes. We report here results from two studies that show differences in the early noun learning of English- and Japanese-speaking children. Experiment 1 examined the relative numbers of animal names and object names in vocabularies of English-speaking and Japanese-speaking children. English-speaking children's vocabularies were heavily lopsided with many more object than animal names whereas Japanese-speaking children's (...) vocabularies were more evenly balanced. Experiment 2 used a novel noun extension task to examine what young children know about the different organizations of animal and artifact categories. The results suggest that early learners of English but not Japanese over-generalize what they know about object categories to animal categories. The role of culture, input and linguistic structure in early noun acquisitions is discussed. (shrink)

One of Kant’s famous questions about being human asks, “What may I hope?” This question places individual life within an encompassing horizon of human history and speculates on the possibility of perspectives beyond death. In our time mortality is generally repressed, though the development of personal consciousness is closely linked to realization of one’s finitude. This raises especially urgent questions for children, and they are left to deal with them alone. From the time awareness begins, knowledge that death can occur (...) at any moment is one of the a priori determinants of being alive; that is, life is structured in advance by its future pastness. . According to Max Scheler, death reveals itself as a necessary and manifest constituent of all possible inner experiences in the life process. The cultural and individual interpretations of death’s meaning and consequences derived from this insight opened up an ample space for imagined possibilities of “continued existence,” which affected approaches to life. In our research project “Inochi – The Concept of Life after Death in Children’s Construction of the World. A German-Japanese Comparison,” carried out with German and Japanese research support, we examine concepts developed within the community of inquiry concerning “the individual’s afterlife” as soul, angel, animal, star, etc. In this we want to examine whether a globalized media environment leads to a cultural convergence in children’s ideas, and whether there are differences between views of girls and boys. Relevance of ideas about death is seen in the example of Japanese children who, believing in reincarnation chose “killing oneself” with relative frequency as a problem-solving strategy. Our contribution will present children’s imaginings using the drawings they created within this framework, since these can be interpreted as expressions of “narrative philosophizing,” especially for the Japanese children. Here we follow Mark Johnson who says” Human beings are imaginative synthesizing animals” . These imaginations make up a large part of our understanding, not just our beliefs, but rather our socially constructed way of being in and inhabiting a world. (shrink)

In this dialogue, Hiroki Azuma discusses with Yuk Hui about the perception of technology in Japan after the defeat in the Second World War, from the Kyoto School to the postmodern critics, and the ambivalent conflicts between the modern and the tradition. The postmodern culture has a different signification in Japan than in the West as well as in other parts of Asia. Azuma documents the rise of the Otaku culture in Japan, and calls them “database animals,” a thesis that (...) he formulated through his reading of Alexandre Kojève’s end of man and the absorption of the human subject into the technological world. (shrink)

Based on an empirical illustration of Onta pottery and more broadly a discussion of the Japanese Mingei movement, we study the intimacy between craft work, ethics and time. We conceptualize craft work through the temporal structure of tradition, to which we find three aspects: generational rhythms of making; cycles of use and re-use amongst consumers and a commitment to historically and naturally attuned communities. We argue these temporal structures of tradition in craftwork are animated by two contrasting but co-existing (...) ideas of the good: the moral and the ethical. By developing the work of Elizabeth Grosz, we conceptualize this distinction between moral and ethical as a temporal phenomenon, specifically in differing relations to ideas of the future. Moral aspects of craft work understand the future as a progression from past, whether in preserving practices and norms, or improving upon them in relation to ideals. Ethical aspects understand the future as inherently open to chance and divergence, valuing difference, accident and the possibilities for creativity these entail. Empirically, we show evidence of both aspects in the case of Mingei—a organized movement dedicated to preserving and promoting traditional Japanese craft work. We contribute to studies of craft work by revealing and classifying its temporal aspects. We contribute to studies in business ethics by conceptualising a generative distinction between morals and ethics configured through differing understandings of time. (shrink)

In this essay, I attempt to define the 'ethnocategory' mushi in Japanese culture, through a semantic analysis of the Chinese characters bearing the radical "mushi," and fieldwork research in rural Japan. The research offers criteria for an animal's inclusion in the category, reveals the differences in people's perception of mushi according to age and gender, and elicits a structure of the category as a series of concentric circles around a semantic core. The richness and complexity of the findings provide (...) insight into Japanese attitudes towards animals and nature. (shrink)

Juri Lotman distinguishes between two main types of communication. In addition to the classical I-YOU communication, he speaks about I-I communication, where both the addresser and the addressee are one and the same person. Contrary to how it sounds, autocommunication is not self-sufficient musing inside one’s self, it is remodelling oneself through a code from an entity outside oneself, be it animate or inanimate. According to Lotman, it is often the rhythmical phenomena like poetry, the rhythm of waves, etc. that (...) lend themselves for the act of autocommunication as external codes. After having received the message one is not identical to the original oneself anymore. Perceptual markers of landscape—specific rhythms, ephemera, the rhythm of human everyday activities, bodily movement—can be considered as a secondary code leading to autocommunication in the person who contemplates the landscape. Looking at the landscape—which also implies the rhythmical movement of the eyes—one uses it as a code to reconstitute oneself. A person who has confronted a landscape does not leave it as the same person. The present article poses a definition of autocommunication in landscapes and discusses the way in which other sensorial information apart from the visual—smell, movement, rhythms etc—are used culturally to reinforce autocommunication with oneself. It can be said that several institutionalised religious and cultural practices expect the subject to reconstitute him- or herself mainly through the bodily landscape experience. (shrink)

The article is devoted to the question of the categories of the epic as part of the theoretical paradigm of contemporary musicology. It is proven that nowadays there are many books, magazines and articles about the epic genre of music. The concept of a soundtrack that appeared in the 1950s is highlighted of XX century. The compilation of songs “Carmina Burana”, which became the reason for the appearance of the music for the trailers was investigated. It has been established that (...) since the 90s of the XX century, the first companies that were engaged in the creation of music for trailers began to appear - “Globus” and “Inmediate Music”. It is determined that the first studio album of the group “Globus” was “Epicon”. It is noted that video games belong to epic music. It has been studied that epic soundtracks are most often used in video games with the plot of war, confrontation and battles. It is noted that Jeremy Soule, who gained fame thanks to the game series “Elder Scrolls” and “Harry Potter” is the most famous composer of orchestral music video games. The importance of music is emphasized for the video games of the famous American composer Garry Schyman. Emphasis is placed on the talented works of German instrumentalist Hans Zimmer. It is noted that the music is epic and cinematic. Samples of the musical epic of Ukrainian composers are highlighted. Explored Japanese anime style animation. Revealed that talented artists receive the MTV Video Music Awards every year. (shrink)

Free flow of culture is not always fair flow of culture. A recent spate of copyright suits by Hollywood against Bollywood accuses the latter of ruthlessly copying movie themes and scenes from America. But claims of cultural appropriation go far back, and travel in multiple directions. The revered American director, Steven Spielberg, has been accused of copying the idea for E.T. the Extra-Terrestrial from legendary Indian filmmaker Satyajit Ray’s 1962 script, The Alien. Disney’s The Lion King bears striking similarities to (...) Osamu Tezuka’s Japanese anime series, Kimba the White Lion. Neither Ray nor Tezuka’s studio sued the American filmmakers and this Article is by no means an attempt to revive any particular legal case. Rather, this Article considers copyright’s role in promoting free cultural exchange, albeit on fair terms in a global marketplace of ideas marked by sharp differentials in power, wealth, and knowledge. (shrink)

Dalawa sa mga hibla ng Pilosopiyang Filipino ay patungkol sa paggamit ng banyagang pilosopiya at pamimilosopiya sa wikang Filipino. Makatutulong ang dalawang ito tungo sa pagsasalin ng mga banyagang kaisipan sa talastasang bayan. Ang dalawang hiblang ito ang nais na ambagan ng kasalukuyang sanaysay, sa pamamagitan ng pagsasagawa ng rebyu sa isang halimbawa ng anime/manga na Hapon: ang Attack on Titan (AOT) ni Hajime Isayama. Gagamitin sa pagbasa ng AOT ang mga pilosopikal na pananaw ng ilang Aleman/Austrianong pilosoper/sikolohista na sina (...) Sigmund Freud, Erich Fromm, Carl Schmitt, at Friedrich Nietzsche. Sa pagbasang ito sa pamamagitan ng apat na banyagang palaisip, tututukan ang tema ng kalayaan at digmaan. Liban dito, maglalatag din ng pagmumuni-muni ukol sa paksa ng pananangkapan sa kasaysayan bilang sandatang pulitikal, isang temang lantad na lantad rin sa AOT. Ang lahat ng ito ay isasagawa sa wikang Filipino, bilang pagtatangka na makapag-ambag sa pagpapasok ng anime/manga na Hapon at pilosopiyang Aleman/Austriano sa talastasang bayan. (shrink)

The study analyzes two animated films - Japanese film Kuroneko Banzai released in 1933 and French film Nimbus Libere released in 1944 - as the examples of the anti-American military propaganda that uses famous American cartoon characters. Kuroneko Banzai tells the story of the inhabitants of one Pacific island who are attacked by vicious Mickey Mouse. The inhabitants are saved by the heroes of the Japanese tales. The film is an example of a national military training which, in (...) one hand, involves the images of Japanese fairy tales characters, that is, appeals to the Japanese national tradition hidden in the Japanese tales and Japanese national symbols, but, in other hand, it contrasts the Japanese fairy tales characters, which symbolize the Japanese national tradition and connection with ancestors and deities, with American cartoon character Mickey Mouse who stands as an enemy from the West. The portrayal of such popular character like Mickey Mouse as the enemy is actually aimed at demonization of Mickey Mouse and together with him the entire American culture to oppose it to own traditional Japanese culture portrayed by the fairy tales characters. Nimbus Libere tells the story of such American cartoon characters like Mickey Mouse, Donald Duck, Goofy, Popeye the Sailor and Felix The Cat who bomb France. The film attempts to demonize the Anglo-American allies landed in Normandy to make ordinary Frenchmen not to help the allies. (shrink)

Japanese scholars in the eighteenth and nineteenth centuries concentrated their efforts translating Western scientific books. Due to fact that only Dutch merchants were permitted to trade with Japan, mainly books in Dutch were introduced into Japan. Thus Dutch translations of books from England, Germany, France, Sweden and Italy were imported. Udagawa Youan was a member of a Japanese family of Chinese medicine doctors and Dutch translators. In the following chapters I outline his life, his vast scope of translations, (...) and present one of his translations, Kouso Seimika, “Chemistry of the Element of Light”: On light and heat reactions with substances, based on a paragraph of the Dutch edition of Antoine Lavoisier’s Traité Élémentaire de Chimie. Youan’s skills were shown in coining new terms in his largest book Seimi Kaiso for which more than twenty-five books of foreign authors are cited as origin for its translation. The wide range of knowledge transfer between scholars of different countries in Europe emphasizes its contrast with the isolation of translation work of the Japanese scholars. Flow of scientific knowledge from Europe to Japan in the nineteenth century is manifested. Udagawa Youan’s text Kouso Seimika explains the reactions of heat and light with matter, plants, animals and mankind as was understood in Lavoisier time. (shrink)

Japanese agricultural scientist Toyama Kametaro’s report about the Mendelian inheritance of silkworm cocoon color in Studies on the Hybridology of Insects spurred changes in Japanese silk production and thrust Toyama and his work into a scholarly exchange with American entomologist Vernon Kellogg. Toyama’s work, based on research conducted in Japan and Siam, came under international scrutiny at a time when analyses of inheritance flourished after the “rediscovery” of Mendel’s laws of heredity in 1900. The hybrid silkworm studies in (...) Asia attracted the attention of Kellogg, who was concerned with how experimental biology would be used to study the causes of natural selection. He challenged Toyama’s conclusions that Mendelism alone could explain the inheritance patterns of silkworm characters such as cocoon color because they had been subject to hundreds of years of artificial selection, or breeding. This examination of the intersection of Japanese sericulture and American entomology probes how practical differences in scientific interests, societal responsibilities, and silkworm materiality were negotiated throughout the processes of legitimating Mendelian genetics on opposite sides of the Pacific. The ways in which Toyama and Kellogg assigned importance to certain silkworm properties show how conflicting intellectual orientations arose in studies of the same organism. Contestation about Mendelism took place not just on a theoretical level, but the debate was fashioned through each scientist’s rationale about the categorization of silkworm breeds and races and what counted as “natural.” This further mediated the acceptability of the silkworm not as an experimental organism, but as an appropriately “natural” insect with which to demonstrate laws of inheritance. All these shed light on the challenges that came along with the use of agricultural animals to convincingly articulate new biological principles. (shrink)

In the digital age, redefining and aesthetically appraising the spiritual substance of non-human entities is crucial, as traditional folklore’s immaterial beings like ghosts are not fully integrated into digital information products. But the enduring popularity of ghost monsters in global media culture, especially mononoke or yōkai in Japan, makes us rethink their immaterial presence alongside advancements in human technology and AI. A notable case is the TV series Mononoke (2006-07), which has spawned adaptations across various media in Japan and recently (...) begun a film trilogy (2024-). Here, we explore the philosophical underpinnings of the series, focusing on the exorcism performed by the protagonist (‘medicine seller’) via three keywords: ‘form’, ‘truth’, and ‘reason’. By doing so, we link the mononoke nature to two philosophical traditions: historical Daoism and modern pragmatism. The first analysis draws on Laozi’s concept of ‘container’ (qi), or the form of Dao. Secondly, we deploy the pragmatist C.S. Peirce’s three normative steps of logic, ethics, and aesthetics. Overall, we argue that the mononoke’s immaterial nature and the haunting of humans are rooted in an elaborately aesthetic interplay of form, truth, and reason. (shrink)

Research on perception and cognition suggests that whereas East Asians view the world holistically, attending to the entire field and relations among objects, Westerners view the world analytically, focusing on the attributes of salient objects. These propositions were examined in the change‐blindness paradigm. Research in that paradigm finds American participants to be more sensitive to changes in focal objects than to changes in the periphery or context. We anticipated that this would be less true for East Asians and that they (...) would be more sensitive to context changes than would Americans. We presented participants with still photos and with animated vignettes having changes in focal object information and contextual information. Compared to Americans, East Asians were more sensitive to contextual changes than to focal object changes. These results suggest that there can be cultural variation in what may seem to be basic perceptual processes. (shrink)

Apologies have long been considered an important social action in many languages for dealing with frictions of everyday interaction and restoring interpersonal harmony in response to an offense. Although there has been an increasing amount of research on apologies in non-Western languages, little research involves children. Japan is an interesting case in which to examine apologies. In particular, Japan has been called a “culture of apology“ in the sense that speakers often `apologize' (ayamaru) in a wide range of communicative contexts. (...) This article examines children's socialization to a culture of apology as evidenced by a large corpus of audiovisual recordings made over the last decade in households, playgrounds, and a preschool in Japan. In particular, it examines ways Japanese caregivers (e.g. parents, preschool teachers) use the expressions Gomen ne and Gomen-nasai ([I'm/We're] sorry) when addressing third parties, including not only other people (e.g. children's peers) but also a range of entities in the surround (e.g. animals, supernatural objects, objects in the environment such as a stone), and ways they prompt children to say these expressions to such third parties. This analysis suggests that apology situations are an important site through which children are socialized to empathy and relationships in the social world. It also examines ways children use these expressions when addressing peers and inanimate objects, and ways they prompt others including peers and even on occasion adults to say them. These findings suggest that while children deploy strategies in ways that reflect the socialization process, they also deploy them in ways that construct this process in creative ways. (shrink)

In 2016, a Cincinnati Zoo worker shot and killed a Western lowland gorilla to protect a three-year-old boy who had fallen into the animal’s enclosure. This incident involves a variant of the classical trolley problem, one in which the death of a human being on the main track might be avoided by selecting an alternate track containing a member of an endangered species. This problem raises two important questions for environmental ethics. First, what, if anything, imbues a human child with (...) greater value than a member of a critically endangered species? Second, is it ethical for zoos to house species such as gorillas? With regard to the first question, at a minimum, it is not obvious whether a human child or a gorilla has the greater value. With regard to the second question, an appeal can be made to Japanese environmental philosophy, particularly the ethical paradigm of kyōsei and the aesthetics of Yuriko Saitō. Members of endangered species have intrinsic value, which entails human obligations to protect the species as a whole and minimize harm to its specimens. (shrink)

This article focuses on the trajectory of life of the three generations of the Jankowski family in Siberia, Primorski Krai and Korea in the years 1863– 1945 in terms of their economic, cultural and scientific achievements. The founder of the Far Eastern branch of the family was Michał Jankowski. Exiled to Siberia for participation in the January Uprising of 1863, as a man of indefatigable energy and collaborator of Benedykt Dybowski, he undertook many initiatives, including hunting, wild ginseng collecting and (...) a gold mining administration. In 1880 he settled on the Sidiemi Peninsula near Vladivostok, where he established a farm specializing in horse breeding and ginseng gardening. In addition to farming, he conducted natural history and archaeological research and sent the acquired specimens and artifacts to Russian and European museums. The tradition of his father was continued in the second generation by Jerzy Mikhailovich Jankowski. Endowed with similar character and talent, he studied agriculture and husbandry in Texas and at the agricultural faculty of St. Louis University in Missouri. He expanded the farm to include commercial fishing and rice cultivation. The occupation of the Far East by the Red Army in 1922 forced the family to emigrate to Korea and Manchuria. The new family seat called Novina was built on the Ompo River near the town of Ch’ŏngjin, about 200 kilometers south along the Korean coastline from the mouth of the Tuman River. It was not only a modern farm with specialized animal husbandry and fruit farming, but was also a recreational, cultural, and spiritual enclave, with a school for children, a summer theater, an Orthodox church, and a resort for holidaymakers. The third and the most famous representative of the family was Walery Jurewicz Jankowski. In 1945, he joined the Soviet Army, where, due to his knowledge of Korean and Japanese, he served as an interpreter for the military intelligence at the headquarters of the 25th Army in P’yŏngyang. At the beginning of 1946, both Walery and his fathers were arrested and sent to the labor camps. The family was scattered around the world, from Australia to the North and Latin Americas and the farm was nationalized. The Jankowsky family achieved spectacular success in the Russian Far East and in Korea because they were able to apply the traditional Polish gentry ethos based on the extended structure of family and servants, which they were able to combine with a chivalrous fortitude and openness to hard life in the frontiers populated by various ethnic groups. (shrink)

Husserl’s Ideen II, subtitled “Phenomenological Investigations on Constitution” and one of Husserl’s most comprehensive works, encompasses wide-ranging analyses of what Husserl calls “material nature,” “animal nahlre,” and “the spiritual world.” In this paper, I shall reflect briefly on his understanding of the interplay among the notions of person, society, and community Both personal and professional factors contribute to this reflection. Each of us belongs to several different, but interrelated and overlapping, communities. family, circle of friends, departmental colleagues, faculty, college or (...) university community, professional society, and political communities of various levels . The functionings and malfunctionings of some of these communities are themselves sufficient to motivate a reflection on the nature of a well-ordered community. In addition, however, the recent publication of the articles Husserl wrote for the Japanese journal Kaizo on the theme of renewal and his early lectures on ethics and value-theory , along with some of the previously published materials on intersubjectivity —as well as the fine commentaries on Husserl’s ethical writings by writers such as Karl Schuhmann, James Hart, and Philip Buckley —provides new reason to reflect on Husserl’s ethical thought, which is too often dismissed as marginal to his work. (shrink)

How parents talk about social events shapes their children’s understanding of the social world and themselves. In this study, we show that parents in a society that more strongly values individualism and one that more strongly values collectivism differ in how they talk about negative social events, but not positive ones. An animal puppet show presented positive social events and negative social events. All shows contained two puppets, an actor and a recipient of the event. We asked parents to talk (...) to their 3- and 4-years old children about these events. A total of 26 parent–child dyads from the United States and Japan participated. The principal dependent measure was how much parent talk referred to the actor of each type of social event. There were no cultural differences observed in positive events – both the United States and Japanese parents discussed actors more than recipients. However, there were cultural differences observed in negative events – the United States parents talked mostly about the actor but Japanese parents talked equally about the actor and the recipient of the event. The potential influences of these differences on early cognitive and social development are discussed. (shrink)

As a result of technological innovations and new cultural practices, the contemporary mediasphere is increasingly populated by digital(ized) faces. The phenomenon is not limited to human faces, but includes a vast universe of fictional animated faces, variously called ‘characters’, ‘mascots’ or ‘kyara’. In Japan, while certainly not new, kyara have been spreading thanks to globalization, digitalization and media-mix strategies. Through the connection between visual design, fictional narratives and socio-cultural consumption, kyara can be considered semiotic figures of in-betweenness, key symbolic mediators (...) in the Japanese mediascape. Their anthropomorphic face design mediates the cultural boundaries between the human and the non-human, the animate and the inanimate, nature and culture. Furthermore, their post-modern narratives mix inspiration from the past and the present, from myths to science fiction. Lastly, they involve an encyclopedic reworking between fiction and reality, mythical references and secularization, between the domains of seriousness and playful make-believe. The article aims to explore the semiotic dimensions of kyara in contemporary Japan, with emphasis on their logic of representation and cultural outcomes. These will be investigated through the analysis of the Pokemon franchise, which will make it possible to describe the emergence of new semiotic patterns of ‘playful visual animism’ in the process of media facialization of everyday life. (shrink)

: In his book Monad and Thou: Phenomenological Ontology of the Human Being, Japanese philosopher Hiroshi Kojima proposes to redefine the I-Thou relation, first extensively investigated by Martin Buber, and to reconcile the notions of ‘individuality’ and ‘community’ in terms of his new phenomenological ontology of the human being as monad. In this essay, Kojima’s ideas are examined concerning the monad and intersubjectivity, and it is shown how these ideas can be extended and brought to bear on issues concerning (...) human encounters with the environment and, in particular, to nonhuman animals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Opening a Mountain: Kōans of the Zen Masters, and: The Kōan: Texts and Contexts in Zen BuddhismEric Sean NelsonOpening a Mountain: Kōans of the Zen Masters. By Steven Heine. Oxford: Oxford University Press, 2002. 200 pp.The Kōan: Texts and Contexts in Zen Buddhism. Edited by Steven Heine and Dale S. Wright. Oxford: Oxford University Press, 2000. 322 pp.The Zen koan is mysterious to many and its significance remains (...) disputed by scholars. Is it a challenging therapeutic device, to be left behind like a raft after crossing the river, or a self-transparent statement of the liberated mind? Is it a logic-defying paradox or does it have its own performative rationality? Is it a spontaneous and often irreverent oral expression or a complex and staged literary form understandable within its context? Is it a narrative with multiple levels of meaning or something that potentially interrupts the work of meaning, narrative coherence, and conventional understanding?Although paradoxical and even shocking language occurs in other traditions, these two provocative volumes illustrate the uniqueness, significance, and interpretive difficulty of one of Zen's primary practices. Both works are valuable contributions to understanding the context, development, and meaning of the koan from its origins and growth in T'ang and Sung China to later Japanese developments.Steven Heine's Opening a Mountain: Kōans of the Zen Masters includes translations of sixty koan cases, selected traditional commentary, and his account of each case. This rich work gathers significant koans about Zen's encounter with its "other" from a variety of koan collections compiled in Sung China and Kamakura Japan.The volume is organized around the theme of "opening a mountain." Masters opened up mountains for Zen by confronting and converting local spirits, hermits, and other forces that would prevent or endanger its practice. It refers more broadly to the confrontation and contest between Zen masters and figures representing supernatural forces, indigenous and popular religiosity, and rival forms of practice such as that of the isolated hermit without vows and outside the Buddhist community.The koans are presented and discussed in five sections concerning: (1) supernatural mountain landscapes; (2) irregular rivals such as hermits, wizards, and dangerous women; (3) supernatural experiences in which bodhisattvas, demons, and magical animals are encountered in dreams and visions; (4) the use of symbols of authority and transmission such as the flywhisk; and (5) experiences of confession, repentance, self-mutilation, death, and the afterlife.Heine argues that emphasizing the ritual, symbolic, and cultural dimensions of the koan complements understanding it as using paradoxical language to free one from the reification of language through aporia and double-binds. He insightfully shows through his translations and discussions the often ignored mythological and religious dimension of many koans. Even when koans use mythic or supernatural elements ironically, it is still in reference to such a context of belief. Since the outcomes [End Page 284] of these confrontations between Zen iconoclasm and irregular practices and unconventional beings are often uncertain, the koan embodies these tensions between supernaturalism and iconoclasm, ritual and meditative clarity, devotion and enlightenment. Zen masters are not always unambiguously victorious in their confrontations and competition with popular religion in these stories of opening mountains and taming and converting spirits, shamans, hermits, unconventional and rival women (such as the "Zen grannies" and the nuns of cases 23-26), and other irregular practitioners and dangerous forces.Zen iconoclasm is best exemplified by Lin-chi (J.:Rinzai), known for his advice to kill the Buddha and the patriarchs, who forbade travel to Mount Wu-t'ai, where popular devotional Buddhists believed Mañjus´rī appeared (see cases 13-15). Lin-chi's Mañjus´rī cannot be seen on sacred mountains but is manifested in your own activity. However, even some koans involving Lin-chi focus on his ambiguous success in dealing with P'u-hua (cases 16, 57), an irregular practitioner attributed with magical powers. Despite such warnings, the bodhisattva of compassion's sacred mountain continued to appeal to ordinary Buddhists and even Zen practitioners. In these koans, Zen is not simply demythologizing. It is playing a dangerous game of ironic ambiguity and... (shrink)

Retracing the way I have followed since the beginning of my philosophical studies, I focus on the main issues that have guided my teaching and research: Time, Death, and Nothingness, all of which take place in the domain of what I have called “negative philosophy”. My first interest was in the problem of language and logic in their relation to temporality, a special privilege being granted in this respect to poetry; subsequently I concentrated my work on the thematic of death (...) and finitude, in order to show that mourning and relation to absence are what establish a fundamental difference between the human being and the animal; and finally, the critique of Western ontology has brought me to concentrate my research on Eastern thinking, with a special engagement with the thematic of nothingness in Indian and Japanese Buddhism. All my work in philosophy has been guided by Heidegger’s question of the relation between Being and Time. (shrink)

A Li (禮) means a rituals that was expressed to outside, differ from Li (理) expressed inner mind. A Li (禮) as a rituals is not enforce law but it need inside devout attitude. 19 century in Korea rapidly changed political situation, typical Confucian value challenged by western religion and practical learning. Though this crisis, Chuzu scholars keeps their philosophy as a absolute value. They faught against westernization and also protect Confucian rituals such as community and family rituals. In the (...) wedding rituals, they take a serious view of spouse’s personality than what one’s wealth. They worried about free sex and desire for material life. If they lost traditional value, then they must be a barbarous animal life. The morning rituals case, they estimated righteous death is better then injustice life. They think that righteous death for nation and people is a true scholar. 19 century many Chuzu scholars faught against Japanese invasion, they called themselves ‘wyijeong cheoksa (衛正斥邪) protection of right and expose of wrong) Chuzu scholars in 19 century in Korea made a typical teachers Kim, Jang-sang and Song, Si-yeol. They believe absolutely traditional Chuzu learning is a perfect and also traditional rituals is unchangeable manners contains Li (禮). (shrink)

The focus of this article is the relation between life, sport, and disciplined movement. How do these enhance life? This means looking at sports in terms of the qualitative experiences they afford and considering the role of disciplined movement. Phenomenological description helps explore the normative paths that heighten said experiences. At their best, such paths result in skillful strivings to excel within communitarian frameworks, of which the Japanese practices of self-cultivation are exemplary. Sheets-Johnstone’s forays into kinesthesia, Ortega y Gasset’s (...) meditations, and Husserl’s historical lifeworld (lebenswelt) animate this account. The aim is to show how sports and movement, in bridling an exuberant temperament, cultivate our abilities, creativity, and excellence, ultimately encouraging stimulating lives.El artículo examina la relación entre la vida, los deportes, y el movimiento disciplinado. ¿Cómo mejoran éstos la vida? Esto implica evaluar a los deportes acorde a las experiencias cualitativas que hacen posibles y considerar el papel del movimiento disciplinado. La descripción fenomenológica ayuda a explorar los caminos normativos que mejoran tales experiencias. En los mejores casos, éstos conllevan esfuerzos hábiles de superación dentro de marcos comnunitarios. Las prácticas japonesas de autocultivo destacan a este respecto. Las indagaciones de Sheets-Johnstone sobre la kinestesia, las meditaciones de Ortega y Gasset, y las ideas de Husserl sobre el Lebenswelt histórico animan el análisis. El objetivo es mostrar cómo deportes y movimiento, al embridar un temperamento exuberante, cultivan nuestras destrezas, creatividad, y excelencia, fomentando, en ultimo término, vidas estimulantes. (shrink)

Anthropocentrism has been claimed to be the root of the global environmental crisis. Based on a multidisciplinary (e.g. environmental philosophy, animal ethics, anthropology, law) and multilingual (English, Spanish, French, German, Japanese) literature review, this article proposes a conceptual analysis of ‘anthropocentrism’ and reconstructs the often implicit argument that links anthropocentrism to the environmental crisis. The variety of usages of the concept of ‘anthropocentrism’ described in this article reveals many underlying disagreements under the apparent unanimity of the calls to reject (...) anthropocentrism, both regarding what exactly is the root of the problem, and the nature of the possible solutions. It highlights the limitations of the argument of anthropocentrism as the scapegoat of the environmental crisis and identifies two main challenges faced by attempts to go beyond anthropocentrism: an epistemological challenge regarding knowledge and the place of sciences, and a metaethical challenge related to values and cultural pluralism. Beyond the issue of an anthropocentric point of view, the core of the problem might be an intertwinement of views and assumptions that work together to undermine attempts to protect the environment from the greed of some humans, such as the human-nature dichotomy, capitalism, consumerism, industrialism, etc. Finally, this article suggests that making the nuances and the presuppositions that underlie various versions of the anti-anthropocentric rhetoric explicit is necessary to foster constructive dialogue among different anti-anthropocentrism proponents, as well as with their detractors. (shrink)

Does the Buddhist doctrine of no-self imply, simply put, no-other? Does this doctrine necessarily come into conflict with an ethics premised on the alterity of the other? This article explores these questions by situating Emmanuel Levinas’s ethics in the context of contemporary Japanese philosophy. The work of twentieth-century Japanese philosopher Watsuji Tetsurō provides a starting point from which to consider the ethics of the self-other relation in light of the Buddhist notion of emptiness. The philosophy of thirteenth-century Zen (...) Master Dōgen casts doubt on Watsuji’s commitment to reciprocal self-other relationality, showing that the idea of self-emptiness disrupts any conventional understanding of reciprocity and promotes instead other-oriented compassion. Despite interesting similarities between the ethics of alterity and Buddhist compassion, a Buddhist-influenced understanding of alterity differs from Levinas on important points, by making possible the claim that all others—human, animal, plant, and mineral—are ethical others. (shrink)

In a wide range of contemporary debates on Japanese cultures of technological practice, brief reference is often made to distinct Shinto legacies, as forming an animist substratum of indigenous spiritual beliefs and cosmological imaginations. Japan has been described as a land of Shinto-infused ‘techno-animism’: exhibiting a ‘polymorphous perversity’ that resolutely ignores boundaries between human, animal, spiritual and mechanical beings. In this article, we deploy instances of Japanese techno-animism as sites of theoretical experimentation on what Bruno Latour calls a (...) symmetrical anthropology of nature-cultures. In staging a dialogue between actor-network theory and Japanese techno-animism, we show how Shinto cosmograms provide an enlivening and alternative diffraction device on several of the ontological motifs manifested in Latour’s work. In particular, by mobilizing the territory of a ‘new’ animism debate in anthropology – manifested in the work of Philippe Descola and Eduardo Viveiros de Castro – we attempt to infuse Latourian ‘multinaturalism’ with new, other-than-western analytical energy. Extending actor-network theory, we argue, Shinto cosmograms offer an interesting vantage point for interpreting the immanent, affective, enchanting and enabling powers of non-humans in contributing to collective life. By thus broadening the ‘cosmopolitical’ imagination beyond Latour’s own European-Catholic frame of reference, Shinto techno-animism offers up a wider reflection on contemporary entanglements of science, politics, ecology and cosmos. This reflection, we conclude, opens up a new intellectual territory, allowing us to trace techno-animist streams of thinking both ‘East’ and ‘West’, beyond the confines of the scientific naturalism indigenous to European thinking. (shrink)

Grammatical gender is independent of biological sex for the majority of animal names (e.g., any giraffe, be it male or female, is grammatically treated as feminine). However, there is apparent semantic motivation for grammatical gender classes, especially in mapping human terms to gender. This research investigated whether this motivation affects deductive inference in native German speakers. We compared German with Japanese speakers (a language without grammatical gender) when making inferences about sex-specific biological properties. We found that German speakers tended (...) to erroneously draw inferences when the sex in the premise and grammatical gender of the target animal agreed. An over-generalization of the grammar–semantics mapping was found even when the sex of the target was explicitly indicated. However, these effects occurred only when gender-marking articles accompanied the nouns. These results suggest that German speakers project sex-specific biological properties onto gender-marking articles but not onto conceptual representations of animals per se. (shrink)

In German, nouns are assigned to one of the three gender classes. For most animal names, however, the assignment is independent of the referent’s biological sex. We examined whether German-speaking children understand this independence of grammar from semantics or whether they assume that grammatical gender is mapped onto biological sex when drawing inferences about sex-specific biological properties of animals. Two cross-linguistic studies comparing German-speaking and Japanese-speaking preschoolers were conducted. The results suggest that German-speaking children utilize grammatical gender as a (...) cue for inferences about sex-specific properties of animals. Further, we found that Japanese- and German-speaking children recruit different resources when drawing inferences about sex-specific properties: Whereas Japanese children paralleled their pattern of inference about properties common to all animals, German children relied on the grammatical gender class of the animal. Implications of these findings for studying the relation between language and thought are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)