Japanese architecture emphasizes transitional spaces between rooms rather than the rooms themselves. If these transitional spaces can be successfully realized, then everything in the room will naturally fall into place with anything else. This also applies to the relation between a building and other buildings stretching out through the whole city, and ultimately to the relation of the city to the natural environment. “En” is the Japanese word for such transitional spaces. It means both “edge” and “connection.” (...) It also means destiny. When two people fall in love at fi rst sight or understand each other without having to speak, they are said to have “en.” This article provides a phenomenological description and constitutional analysis of two Japanese bridging structures: the engawa at the side or back of a house or temple which functions as a veranda for viewing the garden and a hallway to connect the rooms, and the hashigakari bridgeway of the Noh theater by which the principal actor gets from the green room to the stage. (shrink)

The Fukushima catastrophe has led to important practical and conceptual shifts in contemporary Japanese architecture which in turn has led to a re-evaluation of the influential 1960s Japanese modern architecture movement, Metabolism. The Metabolists had the ambition to create a new Japanese society through techno-utopian city planning. The new generation of Japanese architects, after the Fukushima event, no longer seek evolutionally social change; rather, the disaster has made them re-consider what architecture is and (...) what architects can do for people who had everything snatched from them by technology (nuclear power station) and nature (earthquake and tsunami). Drawing on the architectural projects of Tange Kenzo and Metabolists in the 1960s and Ito Toyo’s ‘Home-for-All project’ in 2011, the paper explores this major paradigm shift in Japanese architectural theory and practices. (shrink)

What is culture? What can we learn from art, architecture, and fashion about how people relate? Can cultures embody ethical and moral ideals? These are just some of the questions addressed in this book on the cultural philosophy of three preeminent Japanese philosophers of the early twentieth century, Nishida Kitarō, Watsuji Tetsurō and Kuki Shūzō.

Tetsuro Watsuji's Notion of Fudo and Its Cultural Significance -- 'Self-less Openness' and Fudo: Renewed Sustainable Significance of Japanese Vernacular Architecture -- The Ecology of 'We' and Ambient Warmth: Richard Neutra's Ecological Architecture -- Dialectics between the Regional and the Trans-Regional.

We analyse the contention that privacy is an alien concept within Japanese society, put forward in various presentations of Japanese cultural norms at least as far back as Benedict in The chrysanthemum and the sword: patterns of Japanese culture. Houghton Mifflin, Boston, 1946. In this paper we distinguish between information privacy and physical privacy. As we show, there is good evidence for social norms of limits on the sharing and use of personal information (i.e. information privacy) from (...) traditional interactions in Japanese society, as well as constitutional evidence from the late 19th century (in the Meiji Constitution of 1889). In this context the growing awareness of the Japanese public about problems with networked information processing by public sector and commercial organisations from the 1980s (when a law governing public sector use of personal information was first passed) to recent years (when that law was updated and a first law governing commercial use of personal information was adopted) are not the imposition or adoption of foreign practices nor solely an attempt to lead Japanese society into coherence with the rest of the OECD. Instead they are drawing on the experience of the rest of the developed world in developing legal responses to the breakdown of social norms governing interchange and use of personal information, stressed by the architectural changes wrought by networked information processing capabilities. This claim is supported by consideration of standard models of Japanese social interactions as well as of Supreme Court judgements declaring reasonable expectations of protection of privacy to hold in Japan. (shrink)

Challenging clich's of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s. Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through (...) three revealing artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle's Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed's analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity. (shrink)

In any focus on an aesthetic experience one may find both sensational and cognitive qualities, referred to as the scene and scenario respectively. Hence, an experiencer tries to decipher the scenario —a narration—by sensing the scene —space—through the spatial atmosphere. Thus, space starts to transform into a poetic experience. Japanese architecture, on account of a number of inherent qualities, has the capability to convey such narrations in spaces. In Japanese examples, an experiencer tries to derive the narration (...) that emanates from explicit qualities—sensational, such as textual, visual, audial, or tactile phenomena—with his/her implicit qualities—cognitive/intellectual abilities. The article examines the layer of narration of Japanese architectural structure through haiku 俳句 and haiga 俳画 examples, in doing so, utilizes the layers proposed on behalf of the explicit and implicit qualities: nature-based and feeling-based. (shrink)

Zen and Japanese Culture is one of the twentieth century's leading works on Zen, and a valuable source for those wishing to understand its concepts in the context of Japanese life and art. In simple, often poetic, language, Daisetz Suzuki describes his conception of Zen and its historical evolution. He connects Zen to the philosophy of the samurai, and subtly portrays the relationship between Zen and swordsmanship, haiku, tea ceremonies, and the Japanese love of nature. Suzuki's contemplative (...) work is enhanced by anecdotes, poetry, and illustrations showing silk screens, calligraphy, and examples of architecture. Since its original publication in 1938, this important work has played a major role in shaping conceptions of Zen's influence on Japanese traditional arts. Richard Jaffe's introduction acquaints a new generation of readers with Suzuki's life and career in both Japan and America. Jaffe discusses how Zen and Japanese Culture was received upon its first publication and analyzes the book in light of contemporary criticism, especially by scholars of Japanese Buddhism. (shrink)

Humanistic management in a non-Western context is underexplored, for example, in Japan. Despite numerous publications especially on Japanese management in the 1980s to 1990s the topic of humanistic management in a Japanese context remains largely unexplored. Using Toyota as a case, this article illustrates how a company has systematically implemented Japanese ethical principles based upon Confucianism, Buddhism, Daoism, and Shintoism in its corporate ethics and operations. These moral philosophies emphasize self-improvement, social cooperation, and contribution to society as (...) foundations for good behavior regardless of an individual’s social position. We link some of these philosophic elements with humanistic management in an Asian context. In addition, we came to understand that Toyota’s organizational architecture, i.e., production system and product development rely on an integrated ethical system as their fundamental purpose of business activities, including an expectation that all workers collectively contribute to organizational success and harmony. This differs from many Western approaches which see profit as the purpose of the firm and view their ethical responsibilities in an ex-post fashion. These findings are important, as the scope of humanistic management practices globally needs to be expanded. (shrink)

The Hermit’s Hut offers an original insight into the profound relationship between architecture and asceticism. Although architecture continually responds to ascetic compulsions, as in its frequent encounter with the question of excess and less, it is typically considered separate from asceticism. In contrast, this innovative book explores the rich and mutual ways in which asceticism and architecture are played out in each other’s practices. The question of asceticism is also considered—as neither a religious discourse nor a specific (...) cultural tradition but as a perennial issue in the practice of culture. The work convincingly traces the influences from early Indian asceticism to Zen Buddhism to the Japanese teahouse—the latter opening the door to modern minimalism. As the book’s title suggests, the protagonist of the narrative is the nondescript hermit’s hut. Relying primarily on Buddhist materials, the author provides a complex narrative that stems from this simple structure, showing how the significance of the hut resonates widely and how the question of dwelling is central to ascetic imagination. In exploring the conjunctions of architecture and asceticism, he breaks new ground by presenting ascetic practice as fundamentally an architectural project, namely the fabrication of a “last” hut. Through the conception of the last hut, he looks at the ascetic challenge of arriving at the edge of civilization and its echoes in the architectural quest for minimalism. The most vivid example comes from a well-known Buddhist text where the Buddha describes the ultimate ascetic moment, or nirvana, in cataclysmic terms using architectural metaphors: “The roof-rafters will be shattered,” the Buddha declares, and the architect will “no longer build the house again.” As the book compellingly shows, the physiological and spiritual transformation of the body is deeply intertwined with the art of building. The Hermit’s Hut weaves together the fields of architecture, anthropology, religion, and philosophy to offer multidisciplinary and historical insights. Written in an engaging and accessible manner, it will appeal to readers with diverse interests and in a variety of disciplines—whether one is interested in the history of ascetic architecture in India, the concept of “home” in ancient India, or the theme of the body as building. (shrink)

This article is a reply to Dominic McIver Lopes, 'Shikinen Sengu and the Ontology of Architecture in Japan,' published in The Journal of Aesthetics and Art Criticism 65 (2007). The reply explains how the standard ontology of architecture is able to accommodate Japanese shrines such as Ise Jingu.

Similar to its old history, Japan has a rich traditional and ethical Architecture. Based on these tenets and ethics, different concepts and spaces are formed through the time, as now Japan's ethical and traditional design ideas has its standard principles. Linking the present and the past has always been a momentous criterion in the countries with an old rich Architecture. This fact is indeed important in Japan due to the blend of ethics and religions with peoples` life. Through (...) this idea, three Japanese Architects, Kenzo Tange, Fumihiko Maki and Tadao Ando-who are the only Japanese pritzker prize winners-have well, noticed the need for linking the country's traditional and ethical Architecture criteria with the contemporary Architecture. So, analyzing such projects of these architects prepares a good basis to find out the quality of how traditional and ethical design ideas crystallize in the works of contemporary Japanese architects. The research method for this article is a comparative analysis between the architects` particular projects and Japan's ethical and traditional design ideas, formed through the history of architecture in this country. The contents of this article rely heavily on three bases: 1) study of the historical documents concerning the ethical and traditional design concepts in Japan. 2) The consultancy of leading experts on Asian traditional constructions and ethical architecture specialists from Azad Universities in Tehran. 3) Comparative analysis between the ethical concepts applied in different contemporary works. The results show that the contemporary architects have had good bases for presenting the traditional design concepts as standard principles are all formed in the architecture of Japan today. Meanwhile, it seems that Maki and Ando are more likely to have a conceptual look at Japan's traditions while Tange has a more formal viewpoint. Chronological analysis of the architects` projects shows that despite, all the three architects were impressed by the works of le Corbusier, they were successful to keep contacts with Japan's traditional design concepts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idealization of Contingency in Traditional Japanese AestheticsRobert Wicks (bio)In many popular writings that date from the initial decades of the twentieth century, and also in recent scholarly studies, "Japanese aesthetics"—insofar as we can speak sweepingly of a complicated, multidimensional, and dynamic historical phenomenon—is characterized with a set of adjectives whose present linguistic entrenchment is clearly evident. Specifically we read that traditional Japanese aesthetics is an (...) aesthetics of imperfection, insufficiency, incompleteness, asymmetry, and irregularity, not to mention perishability, suggestiveness, and simplicity.1 Given this collection of qualities, we are presented with a matching set of paradigmatic Japanese aesthetic experiences and objects, both as illustrations and as legitimations of this close-to-standard portrait. Examples include the suggestive moon covered by drifting clouds, the irregularly formed ceramics of ceremonial teacups, the simple and asymmetrical arrangement of unpolished rocks in the dry landscape garden, the bold and dashing monochromatic strokes typical of Zen calligraphy, transient cherry blossoms, serene and cloud-capped mountain summits, lonely thatched huts, sunsets in the foggy twilight, the call of a crane that breaks through the silence, and the light autumn rain that drizzles upon a secluded pond.Upon further reflection, it becomes noticeable that some familiar Japanese aesthetic objects do not easily conform to this standard picture, and this raises doubts about the typical characterization of Japanese aesthetics. The quintessentially Japanese shōji screens and tatami mats, for instance, are uniformly rectangular rather than irregular in form. They are, moreover, neither asymmetrical, nor imperfect, nor incomplete, nor insufficient. How then, can these perfectly regular screens and mats—items crucial to the aesthetics of Japanese domestic architecture—fit neatly into the usually encountered portrait of traditional Japanese aesthetics, if it is said to be fundamentally "the worship of imperfection"?2 Or similarly if "imperfection" is [End Page 88] the keynote of this aesthetics, how does one explain the meticulously raked surfaces of the dry landscape garden or the impeccably perfected movements requisite for performing the Japanese tea ceremony?3Since such examples do not obviously fit into an "aesthetics of imperfection and insufficiency," some reconsideration of the prevailing characterization of Japanese aesthetics is needed to accommodate these, along with other examples of "perfected" items and arrangements. In short, the main difficulty is that the concept of "perfection" has been underthematized.4 To develop a revaluation of the presently submerged status of "perfection" in most scholarly discussions of Japanese aesthetics, I will highlight the familiar principle of aesthetic complementarity but contextualize the experiential foundations of this principle in a specifically Japanese-philosophic manner, namely, in reference to a fundamental feature of time-consciousness, as described by Dōgen (1200-53). This historical grounding will align the principle of complementarity with some of the acknowledged Zen Buddhist sources of traditional Japanese aesthetics.5 The upshot will be that the above-cited collection of adjectives typically used to describe the prevailing atmosphere of Japanese aesthetics—imperfection, asymmetry, incompleteness, suggestibility, etc.—presents only half of the aesthetic and philosophic story and, moreover, tends to pass over what can be appreciated as a more consequential underlying concept, namely, the idea of "contingency."In what follows, basic reflections on the phenomenology of time-consciousness will lead to the claim that, in many paradigmatic instances of traditional Japanese aesthetics, we have before us a situation that is aptly describable as "the idealization of contingency." This involves the assertion of a philosophic proposition through an aesthetic presentation (i.e., the proposition is expressed using metaphor, symbolism, or analogy). In the case of traditional Japanese aesthetics, the main proposition is the Buddhist-associated one that the foundation of things is contingent, conditional, and nonabsolute (i.e., there are no absolute foundations). The aesthetic presentation of this proposition will, as we shall see, make ample room for "perfection" in understanding Japanese aesthetics: By means of juxtaposing contingent, perishable individuals (which usually have an "imperfect" appearance) against a perfected, polished, and idealized background, the contingency of the individuals is thereby aesthetically highlighted and made more readily appreciable.The resulting criticism of the standard characterization is thus a simple one: The typical group of concepts used to describe traditional Japanese aesthetics has neglected to give due... (shrink)

This article explores the profound influence of Zen Buddhism on the formation of Japanese aesthetics, focusing on key concepts such as simplicity (kanso), naturalness (shibumi), and impermanence (mujo). Zen realism, characterized by the acceptance of reality without subjective embellishments, is examined as a foundational principle that shaped not only Japanese cultural identity but also a universal aesthetic language. The study highlights the philosophical tenets of Zen, including the principles of «non-duality» (fuju) and «direct intuition» (jikan), which guide the (...) perception of reality as it is and foster a unique artistic and cultural worldview.Relevance: In the context of globalization and cultural exchange, the Zen-inspired Japanese approach to aesthetics offers valuable insights into contemporary issues of sustainability, mindfulness, and design thinking. The enduring appeal of Japanese minimalism in modern art, architecture, and design underscores the universality and adaptability of Zen principles, making this topic highly pertinent for cross-cultural studies and global artistic dialogues.Objective: The purpose of this study is to investigate how Zen Buddhist values influenced the development of Japanese aesthetics and contributed to creating a universal artistic and philosophical framework.Tasks: To achieve this objective, the article:- Analyzes the philosophical underpinnings of Zen realism in shaping the perception of reality.- Explores the aesthetic principles of simplicity (kanso), naturalness (shibumi), and impermanence (mujo) in traditional and modern Japanese art.- Examines the impact of Zen-inspired aesthetics on contemporary global design and architecture.The study demonstrates that the pursuit of simplicity, rooted in Zen practice, transcends cultural boundaries and has become a universal language in the realms of art and design. Examples include Tadao Ando’s architecture, which embodies harmony between light, space, and void, and the minimalist design philosophy of brands like Muji, which resonates globally. The analysis also underlines the role of Zen aesthetics in fostering ecological awareness and a deeper connection to the present moment, aligning with contemporary global challenges.The article concludes by emphasizing the potential of Zen-inspired aesthetics to serve as a universal cultural category, capable of bridging diverse traditions and promoting cross-cultural dialogue. Future research directions include examining Zen principles as a framework for addressing ecological, social, and philosophical issues in an increasingly interconnected world. (shrink)

Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it (...) is no more than twenty years old and that it is more than a thousand years old. Two ontologies are considered that reconcile this paradox. A general lesson is also drawn, that ontology of art can profit from cross-cultural studies. (shrink)

How much should we know about the underlying structure of a technological artifact in order to understand its history? Quite a bit, according to the authors of The First Computers: History and Architectures. This book, a collection of papers presented at the International Conference on the History of Computing in 1998, is aimed at computer scientists and programmers as well as historians of science and technology. The term “architecture” is used in computing to refer to the structure and capabilities (...) of a computer; it includes both logical design and physical design . Architecture is an abstraction that helps the authors make comparisons between computers from different countries and eras.The First Computers brings together a wealth of information on computers from the 1940s and 1950s, which the editors present in five main sections. Part 1, “History, Reconstructions, Architectures,” addresses general themes in the history of computing. Michael Mahoney's chapter, “The Structures of Computation,” examines the relationship between computer science and “pure” mathematics. Even in its most theoretical aspects, Mahoney notes, computer science has always focused pragmatically on feasible implementations of mathematical ideas, thus “blurring commonly made distinctions among science, engineering, and craft practice” . Robert W. Seidel examines the rationale for reconstructing historic computers, an activity that has engaged many of the book's contributors. Seidel notes that “as the artifacts of modern computing become invisible, older, larger computers supply a symbol of computing to practitioners, the public, and patrons which is not only visible, but comprehensible” .The four remaining parts cover computing developments in America, Germany, Britain, and Japan. The American computers include the Atanasoff‐Berry Computer, Aiken Mark I, ENIAC, and the Institute for Advanced Study computer. The section on Germany contains several chapters on Konrad Zuse as well as on such developments as the Göttingen machines, which may not be that well known. Britain is represented by the Colossus, Manchester Mark I, Atlas, and EDSAC. Perhaps least familiar to historians are the Japanese computers: Seiichi Okoma surveys nine early Japanese computers, and Eiiti Wada describes the PC‐1, which he helped build. Many of the chapters, especially those written by engineers, begin with a brief history of the machine followed by a detailed technical description of its design and operation. The contributions by historians tend to describe the computer's features in more general terms and discuss the intellectual, organizational, and economic context in which the machine was built.Because so many of the authors are technically trained, they are able to offer in‐depth information on the theoretical underpinnings and design of early computers. But often the discussion is difficult to follow, even for historians working in this area. Tony Sales's chapter on the Colossus, a British code‐breaking computer, exemplifies the strengths and weaknesses of accounts written by technical specialists. Sales begins with a clear and engaging narrative of the origins of the Colossus, its method for decoding messages, and its significance to the Allied effort in the Second World War. He then veers into a highly technical discussion that will likely be opaque to readers unfamiliar with terms such as “thyratron rings.” The final section is a personal story of Sales's successful effort to have the machine rebuilt. Like the book as a whole, Sales's chapter can be read for a quick introduction to a milestone in the history of computing or for insight into the meanings embedded in technological artifacts—but readers should be prepared to decipher some formidable technical jargon along the way. (shrink)

Describing and defining what 'Japan style' is, this book explores specific achievements in Japanese art and architecture, offering an analysis of the Japanese culture, its vision of the world and of humankind.

Abstract:Atmosphere in architecture acts as a communication tool between the space and its experiencers. This tool has the potential of being detached from the physical environment and conveyed by memories and imagination, which may augment the physical environment in a poetic way. This paper aims to demonstrate this potential by utilizing the technique of comparative reading using unmanipulated photographs of physical space, computer- generated film/images of the same space, and a spatial narration/text, all in the context of Japanese (...) architecture. By viewing this context from a lens focused on the intersection of aesthetics, phenomenology, and architecture, the study points out the possibility of utilizing atmosphere as a tool to convey ideas and augment the aesthetic experience through different techniques of representation. In this way, it highlights the importance of the narrative quality of spatial atmosphere in architectural design, and its potential as a transposable spatial identity. (shrink)

The Japanese architect Shin Takamatsu gives industrial shapes to his buildings, making them both attractive and strange. His work renders the productive presence of industry in society visible, transforming it into a system of signs struggling with the environment to produce the image of an emergent “third nature”. Other attitudes have been taken by architects in relation to the environment and industry: functionalism and minimalism claim to exert the least possible violence on the environment, but they don’t build with (...) it, because they forget that architecture is first of all a threshold. (shrink)

人間は「生」を得た瞬間から「死」という「滅び」に向かって生きている。そうであるからこそ「生」を尊ぶという考え方が日本の美をつくってきた。日本の美意識の基層をなし、自然に美を見いだした「優美」。演技を七 分にとどめ、完全に演じ切らないことを説いた世阿弥の「幽玄」。慢心する秀吉を戒め、侘びることを説いた利休の「侘び」。旅の途中で寂びつくして命つきることを願った芭蕉の「さび」。西欧文化の影響が背景にある「 きれい」。そして、二一世紀に世界を席巻する「かわいい」とは―。日本の美の潮流を俯瞰し、心のふるさとに耳をすます。.

Thinking through the body: educating for the humanities -- The body as background -- Self-knowledge and its discontents: from Socrates to somaesthetics -- Muscle memory and the somaesthetic pathologies of everyday life -- Somaesthetics in the philosophy classroom: a practical approach -- Somaesthetics and the limits of aesthetics -- Somaesthetics and Burke's sublime -- Pragmatism and cultural politics: from textualism to somaesthetics -- Body consciousness and performance -- Somaesthetics and architecture: a critical option -- Photography as performative process -- (...) Asian ars erotica and the question of sexual aesthetics -- Philosophy as awakened life : everyday aesthetics of embodiment in American transcendentalism and Japanese Zen practice -- Somatic style. (shrink)

This volume examines a variety of philosophical approaches that seek to formulate practical guidelines or norms for human actions and behavior in different areas of society, including politics, cultural traditions, the environment, business management, architecture, and medicine. Written by a team of international authors, this volume features thirteen surveys. It begins with an exploration of ethics in politics and cultural traditions. From genocide to the unequal distribution of wealth, it examines many of the harms that currently affect societies throughout (...) the world and considers a way that those in politics can follow to provide better care for all their populations. Next, the book looks at the relation between ethics and cultural traditions. It features a paper that examines the tension that often exists between the past and the present, with a special focus on the history of India. This volume also considers the idea of a universal system of ethics, presents a practical approach to value-based management in private and public organizations, and examines ethics in medicine. In addition, this volume includes coverage of a new type of ethics called Eco-ethica, proposed by the Japanese philosopher Tomonobu Imamichi, which seeks to answer the question of how men and women can live better or live together with each other in a systematized, technological age. (shrink)

The famous 1893 Chicago World’s Fair celebrated the dawn of corporate capitalism and a new Machine Age with an exhibit of the world’s largest engine. Yet the noise was so great, visitors ran out of the Machinery Hall to retreat to the peace and quiet of the Japanese pavilion’s Buddhist temples and lotus ponds. Thus began over a century of the West’s turn toward an Asian aesthetic as an antidote to modern technology. From the turn-of-the-century Columbian Exhibition to the (...) latest Zen-inspired designs of Apple, Inc., R. John Williams charts the history of our embrace of Eastern ideals of beauty to counter our fear of the rise of modern technological systems. In a dazzling work of synthesis, Williams examines Asian influences on book design and department store marketing, the commercial fiction of Jack London, the poetic technique of Ezra Pound, the popularity of Charlie Chan movies, the architecture of Frank Lloyd Wright, and the design of the latest high-tech gadgets. Williams demonstrates how, rather than retreating from modernity, writers, artists, and inventors turned to traditional Eastern technê as a therapeutic means of living with—but never abandoning—Western technology. (shrink)

This paper makes three related points. First, Japan has played an instrumental role in helping to define the shape and substance of multilateralism in Asia in ways deeper than scholarly literature on Asia's regional architecture has allowed. A key driving force behind Japan's contributions is the perceived utility of multilateralism in facilitating Japan's engagement of and/or balancing against China. Second, Japan has been able to achieve this because of the United States' support for Asian multilateralism and Japanese security (...) interests. In the immediate post-Cold War period, Japan facilitated US participation in regional arrangements such as the Asia-Pacific Economic Cooperation and the ASEAN Regional Forum. But Japanese ambivalence over its dependence on the United States was also apparent in Tokyo's attempts to exclude Washington from the newly formed East Asia Summit in late 2005, despite Japan's felt need to balance China. Japan's reliance on quiet diplomacy and an implicit regional leadership has equally been instrumental to its achievements in regional integration. Third, in the light of Japan's longstanding aim to become a normal military power and adopt a more assertive policy toward China, Japan‒US security ties are likely to deepen with negative consequences for Asian multilateralism. However, if its ties with China and South Korea worsen over their islands disputes in the East China Sea, Japan risks undermining its relations with the United States. How Japan balances its normalization with a continued engagement with multilateralism could be key to a stable and secure Asia. (shrink)

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and (...) often displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

Durante la presencia española en el sudeste asiático se mantuvieron contactos con otros países de su entorno. Uno de ellos fue Japón. El archipiélago nipón cambió de dirigente tras la batalla de Sekigahara, estableciéndose tras ella una nueva dinastía que dirigiría al país hasta 1868, la familia Tokugawa. En los primeros años de este gobierno las relaciones con los españoles fueron cambiantes, pasando de una situación favorable a terminar rompiéndose. Es en esos primeros años se hallan Rodrigo de Vivero y (...) Sebastián Vizcaíno. Ambos personajes se entrevistaron tanto con Ieyasu como con Hidetada Tokuwaga. Vivero estuvo en Japón poco antes de que las relaciones entre ambas potencias se rompiesen; por su parte, Vizcaíno las vivió en primera persona. De sus estancias quedaron sus percepciones del país nipón recogidas en dos Relaciones manuscritas. El objetivo que aquí se persigue es analizar y exponer ordenadamente los datos extraídos de sus manuscritos acerca de las costumbres de los japoneses, su arte, su arquitectura, su estructura social, etc. desde el punto de vista de dos personajes que a diferencia de los misioneros no se involucraron en la sociedad japonesa. Palabras clave: Rodrigo de Vivero, Sebastián Vizcaíno, Japón, Tokugawa, Nueva España, Filipinas.During the Spanish presence in Southeaster Asia, contacts were maintained with other neighboring countries. One of them was Japan. The Japanese archipelago changed its leadership after the Battle of Sekigahara, establishing a new dynasty after it that would lead the country until 1868, the Tokugawa family. In the first years of this government relations with the Spanish were changing, going from a favourable situation to breaking up. It is in those early years that Rodrigo de Vivero and Sebastián Vizcaíno is found. Both characters interviewed both Ieyasu and Hidetada Tokuwaga. Vivero was in Japan shortly before relations between the two powers were broken; for his part, Vizcaíno lived that in the first person. From his stays remained his perceptions of the Japanese country collected in two manuscript Narrations. The objective pursued here is to analyze and orderly expose the data extracted from his manuscripts about the customs of the Japanese, their art, their architecture, their social structure, etc. from the point of view of two characters who, unlike the missionaries, were not involved in Japanese society. Key words: Rodrigo de Vivero, Sebastián Vizcaíno, Namban, Iberian century, Japan, Tokugawa, New Spain, Philippines. (shrink)

Legal text retrieval serves as a key component in a wide range of legal text processing tasks such as legal question answering, legal case entailment, and statute law retrieval. The performance of legal text retrieval depends, to a large extent, on the representation of text, both query and legal documents. Based on good representations, a legal text retrieval model can effectively match the query to its relevant documents. Because legal documents often contain long articles and only some parts are relevant (...) to queries, it is quite a challenge for existing models to represent such documents. In this paper, we study the use of attentive neural network-based text representation for statute law document retrieval. We propose a general approach using deep neural networks with attention mechanisms. Based on it, we develop two hierarchical architectures with sparse attention to represent long sentences and articles, and we name them Attentive CNN and Paraformer. The methods are evaluated on datasets of different sizes and characteristics in English, Japanese, and Vietnamese. Experimental results show that: (i) Attentive neural methods substantially outperform non-neural methods in terms of retrieval performance across datasets and languages; (ii) Pretrained transformer-based models achieve better accuracy on small datasets at the cost of high computational complexity while lighter weight Attentive CNN achieves better accuracy on large datasets; and (iii) Our proposed Paraformer outperforms state-of-the-art methods on COLIEE dataset, achieving the highest recall and F2 scores in the top-N retrieval task. (shrink)

In 1969, Kisho Kurokawa stated that the ‘capsule is cyborg architecture’. The capsule is the ultimate form of the prefabricated building. As such it has emancipated itself from the land to become the immediate extension of the moving self, similar to cars or the Japanese kago. In Japanese Metabolism, an architecture movement of the 1960s and 1970s, the capsule is a small, repeatable building unit rooted in historical elements, such as the teahouse. The capsule is also (...) a tool – a machine for living – that is modular and part of a system offering simplicity and complexity. The capsule signifies individuality within a diverse society, including standardization, functionality, technology and smallness in scale. This article re-examines the potential of the capsule in contemporary bioarchitecture, in living systems and in evolving environments. Through Philip Galanter’s theory of ‘complexism’, the article connects the capsule to modular(ity), embodiment, protective vulnerability, voyeurism, unpredictability, complexity, immateriality and ephemerality. I propose that the capsule instantiates a cyborg bioarchitecture. (shrink)

This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Lines can be physical phenomena, cognitive responses to observed processes, or both at the same time. Based on this assumption, the book describes the “philosophy of lines” in art, architecture, and science. The book compares Western and Eastern traditions. It examines lines in the works of Paul Klee, Wassily Kandinsky, and Henri Michaux, as well as in Chinese and Japanese (...) art and calligraphy. Lines are not merely a matter of aesthetics but also reflect the psychological states of entire cultures. In the nineteenth century, non-Euclidean geometry sparked the phenomenon of the “self-negating line,” which influenced modern art; it also prepared the ground for virtual reality. Straight lines, distorted lines, blurred lines, hot and cold lines, dynamic lines, lines of force, virtual lines, and on and on, lines narrate the development of human civilization. (shrink)

In this research, we proposed multi-robot system that has robustness to the change of environments and has adaptability to the change of tasks and number of robots. To implement them, we use parameter learning on subsumption architecture.The subsumption architecture control robots' fundamental behaviors and robots move continuously in principle.The optimal value of the parameter and the number of robot that does the task in field are searched by learning. As the result,the robot's action on the task is improved.Proposed (...) system has functions to recognize the task and to generate the recordation memory.And then robots adapt to the change of tasks and the number of robots.In this paper, the function of proposed system is tested in simulation experiments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 112-122 [Access article in PDF] Being in the Dry Zen Landscape Reading Zen In The Rocks — The Japanese Dry Landscape Garden, by François Berthier, trans. with a philosophical essay by Graham Parkes. Chicago: University of Chicago Press, 2000, 166 pp., $20.00. The austere simplicity of Zen rock gardens is also an allusive and elusive one, as the two enjoyable essays (...) that comprise Reading Zen in the Rocks — The Japanese Dry Landscape Garden eloquently indicate. More so than the phenomena they describe, these essays appeal to a wide audience, and they read easily, invitingly, and informatively. In this textual performance, the French art-historian, François Berthier, stands side-by-side with the Scottish philosopher of comparative East-West studies, Graham Parkes, to provide a textual and visual presentation that intends, via an appropriate complementarity of content, to introduce the karesansui (dry landscape) style of Japanese garden to the general reader. Parkes — a masterful and accomplished translator — renders into English, Berthier's 1989 work, Le jardin du Ryoanji — Lire le Zen dans les pierres [The Garden of Ryoanji — Reading Zen in the Rocks], and fills some philosophical gaps with his own equal-length [End Page 112] essay, "The Role of Rock in the Japanese Dry Landscape Garden." Though judiciously focused to achieve expository economy, the two essays jointly provide a handy introduction to the complicated artistic, philosophic, religious, and cultural phenomenon popularly known as the "Zen rock garden."As a distinguishing landscape-architectural feature of many Zen monasteries in Japan and abroad, the karesansui garden reinforces the contemplative religious atmosphere and, as the frequent photographs of meditating monks quietly positioned in their rock gardens tend to suggest, they guide the perceiver into the calm and earthy mentality typical of Zen Buddhism. Berthier notes, accordingly, that the gardens provide "an image of the [Buddhistically interpreted] universe in its most condensed form" in which people can discern their "true faces" (p. 6). Ideally, one could contemplate a Zen garden and, if one were equipped with the proper background in Zen training, be stimulated to experience a Zen Buddhist enlightenment.Such are the immediate expectations elicited from a book whose cover depicts a Zen monk contemplating an expanse of bare gravel, and which sets the title word "Zen" in large letters over the monk's back. It comes as a surprise, then, that there is far less pure Zen in these essays than one would anticipate from this English-language presentation of Berthier's book. In the French version, as can be seen above, the word "Zen" appears only in the book's subtitle, and the Zen-specific anticipations are more submerged as a result.It would be an overstatement to identify the phrase "Zen rock garden" as a misnomer, but Berthier and Parkes implicitly demonstrate that the karesansui style of Japanese garden is not an exclusively Zen phenomenon, but is intimately linked with Chinese Daoism, Shintoism, not to mention versions of Buddhism that historically precede, and are significantly different from, Zen Buddhism. Perhaps unintentionally, this book raises the question, "What measure of Zen, in fact, do the paradigmatic "Zen" rock gardens such as the garden at Ryoanji (c. 1500, in Kyoto, and the archetype of Japanese dry landscape gardens) embody?"We can approach this question by considering the meaning of the Japanese word, "karesansui," which Parkes translates accurately as "dry landscape." The title of the book announces that the subject is "the Japanese dry landscape garden," but it is important to recall (as one learns briefly in the final pages) the further linguistic resonances of the prefix "kare." What does not emerge through in the usual translation of "kare" as "dry," is the added association to the English term "withered," for one would translate, for instance, the Japanese terms "kare kusa," "kare ashi," "kare giku," and "kareha," as "withered grass," "withered reed," "withered chrysanthemums," and "withered leaves," respectively. The term "kareki" (bare tree), along with the others, also indicates how the prefixed "kare" suggests wintertime, withering, drying out, something that has... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 257-259 [Access article in PDF] Jesus through Buddhist Eyes: 3rd Conference of European Network of Buddhist-Christian Studies, Archabbey St. Ottilien, Germany, February 26-March 1, 1999 John D'Arcy MayIrish School of Ecumenics, DublinThis ambitious conference, attended by well over 100 participants including a number of practitioners of Buddhist meditation from southern Germany and Austria, has put the European Network of Buddhist-Christian Studies firmly on its feet. (...) Intended mainly for academics working in the field and held entirely in English, the conference, on "Buddhist Perceptions of Jesus," traced various paths from the polemics which characterized relations between Buddhists and Christians well into the century now ending to the remarkable progress made by Buddhist-Christian dialogue in recent decades. The Archabbey of St. Ottilien has itself been the scene of intermonastic exchanges between the Benedictine monks and their Japanese Zen counterparts.The architecture of the conference brought out clearly the distance that has been traveled. Iso Kern (Berne) examined the missionary methodology of the Jesuits in sixteenth- and seventeenth-century China. He showed how they preferred to rely on arguments from reason rather than affront the Chinese with the full implications of Christian revelation, treading a thin line between absorption into harmony with Chinese religion as "a special type of Buddhism" and controversy about the uniqueness of Jesus and his redemptive death on the cross. The Christian idea of a Creator who redeems a sinful world by the substitutionary sacrifice of his own Son was so repugnant to Confucian sensibility that the Jesuits chose a different route, though Professor Kern defended them against Pascal's accusation that they 'hid' the scandal of the cross. Heinz Murmel (Leipzig, in a paper read in his absence) sketched the sterile polemics which characterized early Buddhist-Christian encounters in Ceylon/Sri Lanka, while Frank Usarski (São Paulo) analyzed the equally bitter exchanges between early German converts to Buddhism and their Christian opponents. We were to find not only that these controversies are still remembered in Southeast Asia, but that the obstacles to understanding encountered by the Jesuits in China and Japan still cause problems in Buddhist-Christian relations today. [End Page 257]Of fundamental importance to the development of the conference was a difficult paper by Shizuteru Ueda (Kyoto) on "Jesus in Contemporary Japanese Zen." Starting with his teacher Nishitani's presentation on "Nietzsche and Eckhart" to Heidegger's seminar in 1938, Professor Ueda set out to show how both European nihilism and Christian absolutism can be overcome by Nishitani's understanding of s´unyata: "The last ground of 'I am‚' is without ground and groundless." S´unyata is itself subject to s´unyata: nihilism can only be surmounted through nihilism itself. This dynamic relationship between Into-Nothingness and Out-of-Nothingness is Zen's point of access to Paul's characterization of Christian life-out-of death: "I live no more, Christ lives in me" (Gal. 2:20). Confronted by the question "Who said this?" as Nishitani confronted his Christian friend Muto, the Christian is challenged to ask whether he or she can actually say it, thereby bearing true witness. Ueda's problem is not with this witness, but with the Christian claim that Jesus is unique, for God is not only infinite Person but infinite Openness (basho).Some of these themes were echoed by two speakers who based themselves on experience rather than philosophy: Karl Schmied, a lay associate of Thich Nhat Hanh, and Than Santikharo Bhikkhu, an American monk at Suan Mokkh and Buddhadasa's translator in the last eight years of his life. Without repudiating his Catholic roots, Schmied said that he had simply found more joy in Buddhism. If Jesus is Son of Man and Son of God non-dualistically, could not the relationship between Buddhism and Christianity be one of non-duality, despite obvious differences (rebirth/ historical uniqueness; no-self/person; emptiness/being). Cannot Jesus be seen as a universal Bodhisattva whose 'center,' is everywhere rather than as God's 'only' son?Santikharo Bhikkhu, who still visits... (shrink)

Routledge is running a monograph sale through June 11th. Readers can now access The Phenomenology of Real and Virtual Places free-of-charge for seven days then the eBook can be purchased for £10/$15. Go to the online tfstore kortext com and look for the book using: the-phenomenology-of-real-and-virtual-places-384647 (EPUB version) the-phenomenology-of-real-and-virtual-places-390649 (PDF version) or check attached hyperlinks below. ABSTRACT: This collection of essays explores the history, implications, and usefulness of phenomenology for the study of real and virtual places. While the influence of (...) phenomenology on architecture and urban design has been widely acknowledged, its effect on the design of virtual places and environments has yet to be exposed to critical reflection. These essays from philosophers, cultural geographers, designers, architects, and archaeologists advance the connection between phenomenology and the study of place. The book features historical interpretations on this topic, as well as context-specific and place-centric applications that will appeal to a wide range of scholars across disciplinary boundaries. The ultimate aim of this book is to provide more helpful and precise definitions of phenomenology that shed light on its growth as a philosophical framework and on its development in other disciplines concerned with the experience of place. (shrink)

The mandala is a polysemantic term referring to several distinct yet interrelated architectural and imperial concepts. In addition to this com plexity, however, the mandala’s multivalency is further compounded by layers of nineteenth- and twentieth-century interpretations that have added reductionistic Jungian associations and/or anachronistic Orientalist expectations onto the image. This essay attempts to strip away such accretions and assumptions. It calls for the recognition of the variety and distinctiveness of early Japanese mandalas and aims to resuscitate the role of (...) the mandala in picturing, but not necessarily producing, enlightenment. As a result, this essay will attempt to return to basics and reconsider two key types of Japanese Buddhist mandalas on their own terms. Specifically, it will provide an iconographic and doctrinal analysis of the eighth-century Taima mandala of Amitābha/Amitāyus Buddha in his Pure Land of the Western Paradise. It will also examine the famous pair of ninth-century Two-World mandalas, which depict the Diamond and the Womb World aspects of Mahāvairocana Buddha, the cosmic buddha of great light who illumines all equally. The essay concludes with a final reflection on the Taima and Two-World mandalas, as both are unique examples and emblematic models for two distinct Japanese Buddhist worldviews. (shrink)

Western thinking has long been dominated by essence, by a preoccupation with that which dwells in itself and delimits itself from the other. By contrast, Far Eastern thought is centred not on essence but on absence. The fundamental topos of Far Eastern thinking is not being but 'the way' (dao), which lacks the solidity and fixedness of essence. The difference between essence and absence is the difference between being and path, between dwelling and wandering. 'A Zen monk should be without (...) fixed abode, like the clouds, and without fixed support, like water', said the Japanese Zen master Dōgen. Drawing on this fundamental distinction between essence and absence, Byung-Chul Han explores the differences between Western and Far Eastern philosophy, aesthetics, architecture and art, shedding fresh light on a culture of absence that may at first sight appear strange and unfamiliar to those in the West whose ways of thinking have been shaped for centuries by the preoccupation with essence. (shrink)

This volume explores the deeply interwoven connection of education, art and nature in the context of East Asia. With contributions from authors in South Korea, Japan and Taiwan, the book considers unnoticed but significant themes involved in the interplay of nature, art, and education. It manifests how nature and art can educate, and how education and nature play the role of art. The chapters explore a range of themes relevant to East Asian characteristics, including skill acquisition, Japanese calendar arts (...) and ritual of feelings, garden architecture, the ritualised body, collaborative poetry art, translational language between humans and nature, the Confucian classical Six Arts, the artistic embodiment of the Kyoto School, and the heritage art based education in Korea. The authors examine these themes in novel ways to bring to light the relevance of the East Asian insights to the contemporary global world. This book is an outstanding resource to all researchers, scholars, and students interested in educational aesthetics, philosophy of education, East Asian studies, comparative education and intercultural education. (shrink)

Philosophical reflections on journeys and crossings, homes and habitats, have appeared in all major East Asian and Western philosophies. Landscape and travelling first emerged as a key issue in ancient Chinese philosophy, quickly becoming a core concern of Daoism and Confucianism. Yet despite the eminence of such reflections, Landscape and Travelling East and West: A Philosophical Journey is the first academic study to explore these philosophical themes in detail. Individual case studies from esteemed experts consider how philosophical thought about places (...) and journeys have inspired and shaped major intellectual and cultural traditions; how such notions concretely manifested themselves in Chinese art, particularly in the genres of landscape painting and garden architecture. The studies present a philosophical dialogue between Confucianism and Daoism on issues of social space and belonging and include discussion on travel and landscape in Buddhism as well as Japanese and Tibetan contexts. Approaching the topic from an inter-cultural perspectives, particularly East Asian philosophies, and using these to enrich contemporary reflections on space, the environment, and traversing, this unique collection adds an important voice to present philosophical, political, and cultural discourses. (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)

This dissertation contextualizes the emergence of the Church of Light by Tadao Ando within the Japanese religio-philosophical tradition of nothingness. The idea of nothingness was revived during the first half of the twentieth-century by Kitaro Nishida with two cultural ramifications in the post-war period: a series of dialogues on the points of convergence and divergence between nothingness and the God of Christianity, and an architectural art movement called Monoha, or l'Ecole de Choses. Under the concept of "structuring emptiness," Monoha (...) attempted to restore perceptual depth where dichotomous semiotic representation is overcome through shintaisei, the co-originating corporeal fabric between the subject and object. This two-fold mapping, theological and architectural, not only illuminates the post-war cultural milieu from which Ando's church of spatial emptiness emerged, but also locates the church within the legacy of Nishida's nothingness. ;Nishida's philosophy of nothingness offers a perceptual theory of the "dialectic of self-negation" enacted by shintai, "the actively knowing body." Shintai is the agent of emptying selfhood by functioning as 'the sensational capacity to be filled by' the world. Shintai concretizes the perceptual matrix of co-emergence between the interiority of selfhood and the outside world. When its sensational capacity overflows, shintai enters into the realm of creative action to accommodate the surplus. The figure thus created is not a sign embodying subjective intentions, but constitutes the corporelly-inscribed, pre-reflective experiential datum of the world. Nishida called such a figure "the pure body of the artist," implying its apprehension not as the other in unknowable confrontation, but as the extended self. ;The dissertation examines how this notion of self-renunciatory perception through shintai opens a new hermeneutic horizon for the Church of Light. The church presents an unprecedented conjunction between emptiness, based on the reductive removal of signs, and the cross of light. This seemingly contradictory integration confronts the modern degradation of the cross into an atrophied sign of Christianity and seeks to retrieve its fully efficacious symbolic power. The emptiness contributes to the revival of a deeper communicative mode as shintai by negating the habituated perception pivoted upon the dichotomy between the deciphering subject and the semiotic elements. The perception of light, a natural thing rather than a sign, which infiltrates the cross, is a preliminary ritual to save the perception from the paradigm of the semiotic representation. Shintai, the self-emptying corporeality, resonates with and becomes penetrated by, rather than subjectivizes, the light. On this restored perceptual depth, the cross is perceived not as a sign, but as a part of the pre-reflective, ontological datum constructed and apprehended by shintai. This perceptual experience endorses the associational similarity between the pre-Christian datum predicated upon shintai as the agent of the self-renunciatory subjectivity and Christianity with its theology of the self-transcending love of kenosis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dynamic Encounters between Buddhism and the West ReportLaura Langone and Alexandra S. IlievaThe following is a summary of the 2021 Postgraduate Conference titled "Dynamic Encounters between Buddhism and the West," which took place online on June 28 and 29. The conference was conceptualized, organized, and run by three AHRC funded PhD students at the University of Cambridge: Laura Langone (Faculty of Modern and Medieval Languages); Alexandra S. Ilieva (Faculty (...) of Divinity); and Harry Harland (Faculty of Law). The conference took place over two days and featured eighteen presenters across six panels, and two keynote speakers. There were speakers from four continents (Europe, North America, Asia, and Oceania). A wide range of topics in multiple fields was discussed: religious studies, neuroscience, art history, politics, philosophy, literature, philology, mathematics, art, and music. Each day consisted of three panels, each with three presentations, one keynote presentation, and a networking session.The keynote speakers were Prof. Albrecht Classen (The University of Arizona) and Prof. Graham Parkes (University of Vienna).Prof. Classen opened the conference with his presentation. He taught us that we have been globalized and transcultural since at least the Middle Ages. To support this claim, he provided us with ample evidence of Buddhist-Western exchanges in Art and Literature dotted throughout the literature and architecture of Europe. Prof. Parkes observed that following Zen Master Dōgen's thought as well as Nietzsche's philosophy we can develop a saner approach to the environment, which provides us with resources to help us to tackle the challenges of the climate crisis.Our first panel was titled "Hellenistic-Buddhist Encounters," which followed on nicely from Prof. Classen's thesis that encounters between Buddhism and the West have been ubiquitous and have dated as far back as the Hellenistic period. Our second panel, "Encounters with the Contemporary World," were impressive examples of intercultural philosophy. Each participant demonstrated a unique ability to bring Buddhist ideas into dialogue with contemporary Western philosophy, specifically ethics, philosophy of mathematics, and epistemology. The third panel, titled "Therapeutic Encounters," taught us of the therapeutic value of Buddhist meditation and philosophical inquiry. As our presenters emphasized, this therapeutic value is not just an ancient artifact to be studied anthropologically, but a relevant and applicable approach to the modern idea of well-being that therefore deserves continued scholarship.On the second day, we started with our fourth panel called "Encounters through Western Conceptual Lenses," which among others gave us insight into the reception [End Page 393] of Japanese Buddhism by the German liberal protestants of the nineteenth century. Our fifth panel—"Encounters with German Philosophy"—was an excellent example of contemporary comparative work between Buddhist philosophy, ethics, and logic, and the German thinkers Hegel and Nietzsche.We learned that Nietzsche labeled Buddhism as nihilism––a position that can be challenged through Ambedkar's reading of Buddhism. On the other hand, despite Nietzsche's criticism of Buddhism, striking similarities between his approach to life and that of Mahāyāna Buddhism can be found, both elaborating a life-affirming philosophy. We also became familiar with similarities and differences between the logic of Nishida and Hegel. Finally, our last panel, "Literary and Artistic Encounters" made for a fitting conclusion, reminding us that Buddhist-Western encounters are ongoing, not just politically and intellectually but also in art, music, and literature. These encounters are dynamic in nature and fundamentally lacking in an essential core. Instead, they are entities that echo through the ages allowing for reinterpretation and reintegration across geographic and temporal scopes.Both during and after the conference we received extremely positive feedback from the participants. The level of participation and enthusiasm was highly promising, showing that the future of intercultural studies of this sort is bright. Graduate conferences like these are key for early career scholars to set up networks and find likeminded peers to engage in ongoing dynamic encounters.In conclusion, this conference served to highlight the sophisticated emerging scholarship taking place that seeks to investigate Buddhist-Western interactions and dialogue. But, perhaps more importantly, the conference itself makes a metapoint: not only has the world been transcultural for many centuries, but the conference itself and in particular the global spatial locations of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The 2008 Meeting of the Society for Buddhist-Christian StudiesPeter A. HuffThe Society for Buddhist-Christian Studies (SBCS) sponsored two sessions in conjunction with the 2008 annual meeting of the American Academy of Religion (AAR). The first session addressed the topic "Cognitive Science, Religious Practices, and Human Development: Buddhist and Christian Perspectives." The second session focused on the life and legacy of Trappist monk, spiritual writer, and interfaith pioneer Thomas Merton (...) (1915–1968).The first session, moderated by Sandra Costen Kunz (Phillips Theological Seminary), featured five papers probing the relationship between research in the natural and social sciences and lessons from the experience of Buddhist and Christian practice: "The Body and the Mind: Buddhist Bowing and Neuroscience," presented by Paula K. Arai (Louisiana State University) and coauthored with Sascha du Lac (Salk Institute for Biological Sciences); "Who Hears? A Zen Buddhist Perspective" by Robert Aitken Roshi, founder and retired Zen master of the Diamond Sangha in Honolulu (read by Ruben Habito, Southern Methodist University); "'Your Cell Will Teach You Everything': Old Wisdom, Modern Science, and the Art of Attention" by Noreen Herzfeld (St. John's University); "Verbal Imagining: Scientific Reflection on Visual Cognition in Light of Traditional Tibetan and Christian Theologies of the Image" by Thomas Cattoi (Jesuit School of Theology, Berkeley); and "Cognitive Error and Contemplative Practices: The Cultivation of Discernment in Mind and Heart" by Wesley J. Wildman (Boston University). Revised versions of three of these papers with an introductory essay by Prof. Costen Kunz are included in this issue of Buddhist-Christian Studies.The theme for the society's second session, chaired by Alice Keefe (University of Wisconsin), was "Thomas Merton Forty Years after His Death: Buddhist and Christian Perspectives." Four presenters examined and evaluated Merton's distinctive contributions to Buddhist-Christian relations, theological reflection, and interreligious dialogue. In her paper "Self-Surrender in Merton's Writings and Contemplative Psychology," Daijaku Judith Kinst (California Institute of Integral Studies) concentrated on the place of subjective transformation in Merton's thought, describing his [End Page 143] "great gift" to the literature on the contemplative life as the "fearless" rejection of self-centeredness in the practice of prayer and spiritual formation. "Thomas Merton Meets Tibetan Buddhism" by Judith Simmer-Brown (Naropa University) shed new light on the impact of the dzogchen ("great completion") tradition on Merton's evolving spirituality, particularly as expressed in the letters, speeches, and private documents included in the posthumously published Asian Journal of Thomas Merton (1973). In "Non-Dual Wisdom as Feminine: Sophia and Prajnaparamita in Merton's Poem 'Hagia Sophia,'" Paula Hirschboeck (Edgewood College) explored suggestive parallels between Christian mystical experience and Buddhist madhyamika teaching in Merton's long, dreamlike Marian hymn from the early 1960s. Kristin Johnston Largen (Lutheran Theological Seminary, Gettysburg) concluded the session with an analysis of the role of Buddhism-inspired insights in Merton's approach to soteriological questions, especially as seen in his changing attitudes toward traditional Christian doctrines of hell, purgatory, eschatology, and the human person.Between sessions, members and friends of the society participated in the annual SBCS/AAR field trip to a local site significant for its relevance to interdisciplinary Buddhist-Christian studies. This year members visited the Chicago Cultural Center of Soka Gakkai International-USA (SGI-USA), the Buddhist association for peace, culture, and education based on the teachings of thirteenth-century Japanese monk and reformer Nichiren Daishonin. Located at 1455 South Wabash Avenue in downtown Chicago, the cultural center serves as the primary facility for SGI-USA activities in the Midwest. Mr. Guy McCloskey, senior vice president, publisher, and member of the board of directors for SGI-USA, organized the event. The evening's program included a tour of the center's award-winning architecture, an informal overview of the aims and initiatives of SGI-USA, and a delicious dinner served by members of the organization. [End Page 144]Peter A. HuffCentenary College of LouisianaCopyright © 2009 University of Hawai'i Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Knowing the EastPatti M. MarxsenKnowing the East. By Paul Claudel. Translated by James Lawler. Princeton, NJ: Princeton University Press, 2004. 136 pp.Fifty years after his death, Paul Claudel (1868–1955) is remembered for many things. Not only was he a major twentieth-century poet and playwright, he was an astute observer of Dutch, Spanish, and Japanese art. Not only was he the brother of sculptor Camille Claudel, he was (...) a diplomat who lived for nearly twenty years in Asia, including a stint as the French ambassador to Japan (1921–1927). When he was elected as a member of the Académie Française in 1946 at nearly 80 years of age he quipped, "For an academic, that is puberty." He died at 87, having lived large in two centuries and on three continents.Following an adolescence marked with indifference toward religion, Claudel experienced a profound conversion to Catholicism during a Christmas night service at Notre Dame Cathedral in Paris at the age of 18. With Christianity at the center of his universe and under the influence of Symbolist poets Rimbaud and Mallarmé, he developed a response to the world that was at once poetic and spiritual. Through his poetry, plays, and essays, he insisted on a fundamental unity between matter and spirit, a harmonious and vast universe into which the human mind could enter. And, at least for him, the point of entry was the portal of the Church. He struggled at times, but never lost sight of his faith. For all this, he is often credited with the revival of French Catholicism in the wake of WWI. After all, if Paul Claudel could take religion seriously and find meaning in it, pourquoi pas the rest of us?The facts of his extraordinary biography form a peculiar background to the recent translation by James Lawler of Claudel's collection of prose poems titled Knowing [End Page 229] the East. First published in 1946 as Connaissance de l'est, these sixty-one texts were written between 1895 and 1905 during Claudel's first visits to China and Japan as a young vice-consul stationed in Shanghai. He was twenty-six and still finding his poetic voice. And though his stance in the world is decidedly Christian, the content of this intriguing work reveals an inner dialogue with Buddhist ideas of interconnection, harmony, the ongoing quest for a higher life condition, and the overwhelming impact of nature in the lives of mere humans.In "Pagoda," Claudel describes a seven-story Chinese pagoda as it "amplifies and multiplies the roof, exaggerates the horned corners that rise with an elegant surge, and turns their curves upward to the sky." This form that "does away with walls" and concentrates on the uplifting roof creates a space where "Buddha, Prince of Peace, dwells inside with all the gods." In this architecture he reads a structuring of physical and spiritual space, a kind of never ending upward movement divided into "the seven mystical heavens." The culminating effect is the heavenly achievement of the unknowable. And so, after going as far as he can go into the world of the spirit, he ends this prose poem with an abrupt return to temporal reality. "I have no more to say of the Pagoda. I do not know its name."Elsewhere, in "The Wanderer," he turns his sense of awe toward nature. "Every tree has its personality, every small beast its role, every voice its part in the symphony," he writes. "As one understands music, so I understand nature, like a detailed narrative of proper names; as my walk and the day advance, so does the elaboration of the doctrine." The "doctrine," it seems, is the idea of dependent origination, the interrelation of all life that springs from a single source. In the last line, he states, "I understand the world's harmony. When will I grasp its melody?"In "The Temple of Consciousness" Claudel climbs "the black rock's vertical wall, and only at this late afternoon hour do I know myself to be on the right track." Below, he observes golden rice fields. Ahead there is an "old stairway overlaid with hoary moss... (shrink)

We address the problem of information flow in disaster relief scenarios by presenting an architecture for generating natural language dialogue between large numbers of agents. This architecture is the first step towards real-time support systems for relief workers and their controllers. Our work demonstrates how natural generation techniques from the MIKE commentary system for RoboCup soccer can be carried over to that of RoboCup Rescue. Thanks to this background, the initial product of our research is a system that (...) explains a RoboCup Rescue simulation not to the agents in the domain themselves but to a watching audience. This ”commentary” is produced by recreating the actual dialogues most likely be occurring in the domain: walkie-talkie-conversations. (shrink)

The goal of our research is to develop a software environment in which users can select appropriate Knowledge Discovery systems from various candidates, and compare each obtained result with others. This paper reports a prototype of such an environment, named EVLD. The key idea in constructing EVLD is introducing three-level architecture into it. We adopt the logic of discovery proposed by Plotkin for the middle level, and put every Knowledge Discovery system on the lowest level. By designing the transformation (...) of the two levels, users of EVLD obtain outputs of every discovery system in the form of logic programs. They can compare the outputs by comparing the logic programs. Moreover the logic programs are stored in a rule base, and can be used as a background theory for another trial of discovery systems. Though the logic of discovery was invented thirty years ago with philosophical consideration of discovery, it includes Knowledge Discovery from relational databases in first-order logic. Therefore constructing EVLD is connecting recent Knowledge Discovery systems with Plotkin's philosophical consideration. (shrink)

The aim of this study is to provide all people, from small children to aged persons, with a computational environment for everyday language communication. In order to achieve this, we propose a framework for a language-based operating system. In this paper, we explain our approach to dealing with the meaning of language, the architecture of the language operating system and its components. In particular, we describe the notion of language protocol and its resource representation, compared to the other protocols (...) and their resource representations. We argue that by processing meaning of language rather than processing information, we attempt to provide a more human-like computer system and an intelligent computational environment to all people. (shrink)