This paper introduces an agent system for supporting user's dairy work on the Internet like a secretary. In this system, an agent is assigned to a user, and receives requests from the user or other agents. Since there are various kinds of requests, it is difficult to prepare a complete set of request-handling rules in advance. In order to handle various requests, the agent uses Case Based Reasoning (CBR), which is an approach to solve a problem by referring old cases. (...) Requests and cases are described as XML documents, that are easily understandable for both the user and agent, because the agent needs to interact with them. Describing documents in XML enables an agent to match a request and a case more exactly. This agent consists of a request receipt module, planning module, executing module, and case storage module. The request receipt module receive a request from the user or other agents. The request is described as a XML document by interacting with the user. The planning module searches an old case similar to the request, and generates a sequence of basic operations as a plan by referring the case. The executing module executes the plan. If the agent fails to execute a basic operation or requires user's instruction, then it carries out the plan by interacting with the user. The case storage module stores the new case with user's evaluation score into the case base. The experimental results shows that increase in the number of cases raises a proposal rate and accuracy rate. However, too many cases may cause decline in the accuracy rate by inconsistency of user's evaluation. (shrink)

Dienes & Perner's analysis provides a clear theoretical justification for using a demonstration of volitional control as a criterion for conscious awareness. However, in memory tasks, the converse does not hold: A phenomenological awareness of a memory episode can arise involuntarily, even when the task does not require retrieval of the episode. The varying amounts of volitional retrieval required by different memory tasks need to be recognized.

This is an important volume of seventeen essays that historicizes observation as a practice, concept and ideal. It belongs to the historiographical tradition of scrutinizing central aspects of the scientific enterprise such as experiments and objectivity that once appeared too self-evident to be probed. The challenge of historicizing such a significant idea is that it has to be a collective enterprise.The volume starts with three essays that provide a chronological survey of the period from 500 to 1800. Katherine Park, covering (...) the period from 500 to 1500, explains how observation for Cicero and Pliny had nothing to do with experiment or systematic investigation, but rather was a collective and largely anonymous process, associated with originary phrases of natural knowledge of a distant past and intelligible even by the illiterate. It was the basis for conjectural knowledge that lacked causal explanation. Observation of celestial events occurred from time to time, but in the context o .. (shrink)

大東亜戦争後の世界は誰が引き継ぐのか。「漫然と世界の長」たるアメリカ発のグローバリゼーションの無思想性を超克し、来るべき地球時代の新ビジョンを示す。.

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)

Discussing Plato's views on knowledge, recollection, dialogue, and epiphany, this ambitious volume offers a systematic analysis of the ways that Platonic approaches to education can help students navigate today's increasingly complex moral environment. Though interest in Platonic education may have waned due to a perceived view of Platonic scholarship as wholly impractical, this volume addresses common misunderstandings of Plato's work and highlights the contemporary relevance of Plato's ideas to contemporary moral education. Building on philosophical interpretations, the book argues persuasively that (...) educators might employ Platonic themes and dialogue in the classroom. Split into two parts, the book looks first to contextualise Plato's theory of moral education within political, ethical, and educational frameworks. Equipped with this knowledge, part two then offers contemporary educators the strategies needed for implementing Plato's educational theory within the pluralistic, democratic classroom setting. A Platonic Theory of Moral Education will be of interest to academics, researchers, and post-graduate students in the fields of: ethics; Plato scholarship; moral psychology; educational foundations; and the philosophy of education. This book would also benefit graduate students and scholars in teacher education. Mark E. Jonas is Professor of Education and Professor of Philosophy at Wheaton College, US. Yoshiaki Nakazawa is Assistant Professor of Education at University of Dallas, US. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Leonhart Fuchs on the Importance of PicturesSachiko KusukawaIf not for the attractive plant with overhanging flute-like flowers that was named after him, Leonhart Fuchs (1501–66) is best known today as one of the pioneers of accurate representations of plants in histories of scientific illustrations.1 The pictures in Fuchs’s Remarkable Commentaries on the History of Plants (1542) have been appreciated usually for their “naturalistic” features (i.e., pictures drawn from observing (...) a plant specimen), as well as for their tendency to discard individual blemishes and portray a universal or ideal “type” of a plant where several varieties of species could be incorporated into one bush, or where various stages of the same plant may be depicted in one figure.2 On the other hand no historian of botany who has examined the text these pictures accompanied has found that such qualities as observation from nature or a sense of “ideal type” contributed to Fuchs’s theoretical understanding of [End Page 403] plants: he lacked any sense of the family genera or Linnean classification, for he had simply adopted an alphabetical ordering.3Fuchs himself considered his pictures remarkable—as he was at pains to point out—and he believed his pictures were absolutely crucial for his commentary on plants. My immediate aim in this paper, therefore, is to offer an interpretation of Fuchs’s Remarkable Commentaries on the History of Plants which does not split the work into artistically positive and botanically negative elements. As I shall argue, the uniqueness and so the controversial nature of Fuchs’s enterprise lies in the kind of argument and procedure he believed to be valid for an academic study of plants. More generally, I hope to use this reassessment of Fuchs’s work to show how pictures could be as controversial as texts and how the uses of texts and pictures together form past acts which require historical explanation. Click for larger view View full resolutionFigure 1.The Artists. Leonhart Fuchs, De historia stirpium, 1542, verso of last folio page. Reproduced by permission of the Syndics of Cambridge University Library.In 1542 Fuchs published his Remarkable Commentaries on the History of Plants Belaboured with Great Expense and Vigilance with More than Five Hundred Live Images of Plants Attached. It begins with a picture of Fuchs, the author, at the age of forty-one and ends with that of the artists (fig. 1). Although the division of labor depicted here seems to have been a standard one for printing illustrated books in this period,4 it is unusual that we know their names. Albrecht Meyer did the drawings from life, Heinrich Füllmaurer transferred the drawings to woodblocks, and Veit Rudolf Speckle cut those woodblocks.5 Fuchs was proud of one of the artists in particular: “the woodcutter [sculptor] Veit Rudolf Speckle, by far the best in Strasbourg, excellently imitated the admirable industry of painters: he has so skilfully expressed the outlines of each picture by carving [sculpendo] that he seems to compete with the painter for glory and victory.”6 A comparison between the painter and the sculptor had been a favorite topic in the Renaissance genre of paragone—Leonardo da Vinci, Galileo, Castiglione, and Michaelangelo composed treatises on it—where the [End Page 404] relative merits of various mimetic arts were discussed.7 Fuchs’s comment on Speckle is more nuanced, however, than a polite competition between the arts over their mimetic skills: Fuchs announces that Speckle is worthy of praise in producing a picture—normally the domain of the painter (pictor)—with the specialized skill of carving of the cutter (sculptor). This is surely an appreciation of the particular skill involved in producing replicable pictures for printed books, just as Erasmus had, a generation earlier, acknowledged in Albrecht Dürer’s prowess at engraving the potential for reproducibility in a print culture.8 Indeed, of the artists involved in printing, it was the woodcutter who could expect to be paid most in this period—nearly fifteen times more than the artist who originally drew the pictures.9 Click for larger view View full resolutionFigure 2.Atriplex. Theodore Dorsten, Botanicon, 1540, fol. 35r. Reproduced... (shrink)

生物学者と哲学者が西田哲学を共通項に生命について徹底的に考え抜く。時間論を経て知の統合に向かう碩学2人による記念碑的対話。.

Recent studies have fruitfully examined the intersection between early modern science and visual culture by elucidating the functions of images in shaping and disseminating scientific knowledge. Given its rich archival sources, it is possible to extend this line of research in the case of the Royal Society to an examination of attitudes towards images as artifacts—manufactured objects worth commissioning, collecting, and studying. Drawing on existing scholarship and material from the Royal Society Archives, I discuss Fellows’ interests in prints, drawings, varnishes, (...) colorants, images made out of unusual materials, and methods of identifying the painter from a painting. Knowledge of production processes of images was important to members of the Royal Society, not only as connoisseurs and collectors, but also as those interested in a Baconian mastery of material processes, including a “history of trades.” Their antiquarian interests led to discussion of painters’ styles, and they gradually developed a visual memorial to an institution through portraits and other visual records. (shrink)

世界は存在するのか、しないのか。生命とは、人間とは何か―西田幾多郎の哲学は世界のあり方を根源から問う実在論であった。行為的直観、自覚、絶対無の場所、絶対現在、永遠の今、絶対矛盾的自己同一といった西田独 自の概念を、生命論を手がかりに考察することを通して西田哲学と一体化しつつ、自身の思索を深化させる池田哲学の真骨頂が展開する。ピュシス(自然)の発する声に耳を傾けた、『福岡伸一、西田哲学を読む』の続編。 .