In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 114-121 [Access article in PDF] Art as Part of Daily Life - A Cross-cultural Dialogue between Art and People If encounters with art and artists become part of daily life in a small rural community, and if aesthetic experiences are perceived by its local residents as part of their daily lives, what kinds of humanistic, cultural, and social change take place in (...) the community and in the people involved? By living together in a residential community, and by showing and sharing the process of art making, to what extent can aesthetic, cultural, and social issues and concerns expressed by artists be interpreted by local residents? These are the main issues addressed in this essay. 1 The artistic and aesthetic education provided in the community gradually opened up a dialogue not only between foreign artists as guests and Japanese spectators as hosts, but also between art and people, culture and culture, and people and people within the local community. Outline of the Project The Cultural Exchange House, situated in Yamaguchi prefecture, has accommodated about forty artists-in-residence from abroad for over ten years. The forty artists who have stayed there include painters, potters, sculptors, photographers, pianists, musicians, composers, poets, and writers. Artists are responsible for their travel and living expenses. The use of the house is provided without charge and the needs of the artists are met by volunteers. About half of the artists have been German and the rest from Britain, Belgium, United States, Holland, and Australia. Male and female artists have been nearly equally represented.Beginning with three, there are now sixteen volunteers who felt that the creation of a cultural environment, or more specifically the creation of access to the world of art was important for the community. They saw the need for the local community to provide children and adults with aesthetic experiences that could enrich their internal and external worlds. Increasing numbers of children were leaving the community to attend schools and get jobs, with little possibility of returning. The volunteers felt that one of their roles was to educate children and their parents so that they could encounter values different from their own, develop self-confidence, and take pride in the local community which had such cultural opportunities. They assumed that art could open people's minds to the world outside their existing cultural framework, and that it would be valuable to have artists from the outside world as their neighbors and friends. [End Page 114] Benefits of the Project There are already extensive formal grants available to foreign artists in cities such as Tokyo, Nagoya, and Osaka. However, the people who came to Yamaguchi said that they were especially attracted to life in a rural community; they hoped to experience the "real life" of the Japanese. Since the projectcould offer no grants for travel and other daily expenses, the communitydecided that they had little hope of attracting well-known artists. Instead, they invited younger lesser-known artists with potential, who did not mind the limited conditions and who welcomed a new cultural experience which might stimulate or broaden their approach to art. The contract stated that the artists should participate in cultural exchange programs, such as visiting schools and community centers to hold art workshops, and also, at the end of their stay, to share their experiences of the residency in the form of an exhibition or a concert. The degree to which this contract was kept varied. In general, the artists fulfilled the local people's expectations by holding workshops with children and adults, and did not mind having concerts in the town gymnasium or exhibitions at the community center. Foreign artists had an opportunity to reflect in a quiet environment and further their art. They were also stimulated by the encounter with the culture and people, and felt at home in the Cultural Exchange House.The house is relatively large with more than ten rooms; a dining room,kitchen, toilet, an outside bathroom, a separate studio space, and a... (shrink)

Over the last few years, I have attended several political meetings concerned with the refugee crisis, multiculturalism or Indigenous rights in Australia, meetings at which liberal democratic–minded ‘left-wing’ people came together to discuss, or agitate for change in, governmental policies. At these meetings, I always found it difficult to accept the slogans on their placards and in their speeches: ‘Shame Australia! Reconciliation for a united Australia’, ‘Wake up Australia! We welcome refugees!’ or ‘True Australians are tolerant! Let’s celebrate multicultural Australia!’ (...) My uncomfortable feeling came not only from the fact that I was left out because of my Japanese nationality but also because I had never seen or heard words like ‘shame Japan’, ‘wake up Japan’ or ‘true Japanese are...’ at Japanese ‘left-wing’ political gatherings. In Japan, these are words used only by right-wing nationalists. Indeed it is difficult to even imagine liberal-left intellectuals in postwar Japan calling for a ‘true Japanese’ political response, such is the extent to which the idea of ‘good nationalism’ is now regarded as an oxymoron. This is my starting point for an essay in which I want to be attentive to the different roles played by national in the Japanese and Australian political environments. (shrink)

1. Hassei to sono tenkai -- 2. Kindai kara no ayumi.

precise introduction to Advaita Vedanta, on the basis of something more.

When People were falsely accused, and yet there existed no human means to testify to the truth, to whom did they resort for the final judgment? In ancient India, it was a sort of ordeal ( divya ), which was inseparable from oath ( śapatha ) and act of truth ( satya-kriyā ). Here we present some examples and investigate who appear in these contexts. As a result, we could classify them into (1) mahā−bhuūta (fire, wind, water, etc.), (2) heavenly (...) bodies (sun moon, etc.), (3) inner principles (heart, soul, etc.) and (4) gods (Agni, Vāyu, Indra, Yama, etc.). All these witnesses observe ( paś -) the act of a human being, right as well as wrong, either transcendently from above like the sun, or immanently from inside like wind which circulates human body in the form of vital breath. (shrink)