In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In this paper, illocutionary acts of commanding will be differentiated from perlocutionary acts that affect preferences of addressees in a new dynamic logic which combines the preference upgrade introduced in DEUL (dynamic epistemic upgrade logic) by van Benthem and Liu with the deontic update introduced in ECL II (eliminative command logic II) by Yamada. The resulting logic will incorporate J. L. Austin’s distinction between illocutionary acts as acts having mere conventional effects and perlocutionary acts as acts having real effects (...) upon attitudes and actions of agents, and help us understand why saying so can make it so in explicit performative utterances. We will also discuss how acts of commanding give rise to so-called “deontic dilemmas” and how we can accommodate most deontic dilemmas without triggering so-called “deontic explosion”. (shrink)

One prominent feature of belief is that a belief cannot be formed at will. This paper argues that the best explanation of this fact is that belief formation is a process that takes aim at the truth. Taking aim at the truth is to be understood as causal responsiveness of the processes constituting belief formation to what facilitates achieving true beliefs. The requirement for this responsiveness precludes the possibility of belief formation responding to intentions in a way that would count (...) as forming a belief at will. (shrink)

This paper presents the first dataset for Japanese Legal Judgment Prediction (LJP), the Japanese Tort-case Dataset (JTD), which features two tasks: tort prediction and its rationale extraction. The rationale extraction task identifies the court’s accepting arguments from alleged arguments by plaintiffs and defendants, which is a novel task in the field. JTD is constructed based on annotated 3477 Japanese Civil Code judgments by 41 legal experts, resulting in 7978 instances with 59,697 of their alleged arguments from the involved parties. Our (...) baseline experiments show the feasibility of the proposed two tasks, and our error analysis by legal experts identifies sources of errors and suggests future directions of the LJP research. (shrink)

Pyridoxal 5′‐phosphate, the vitamin B6 derivative, acts as the coenzyme of many enzymes involved in amino acid metabolism. Exceptionally, this compound was found covalently bound to glycogen phosphorylase, the key enzyme in the regulation of glycogen metabolism. Although it is essential for the function of phosphorylase, its direct role has remained an enigma. We have recently found that the glucose moiety of pyridoxal (5′)diphospho (1)‐α‐D‐glucose, a conjugate of pyridoxal 5′‐phosphate and glucose 1‐phosphate through a pyrophosphate linkage, is transferred to the (...) nonreducing end of glycogen, forming a new α‐1,4‐glucosidic linkage. This finding emphasizes the importance of the direct phosphate‐phosphate interaction between the coenzyme and the substrate in the phosphorylase catalytic reaction. We have proposed a catalytic mechanism for phosphorylase in which the phosphate group of pyridoxal 5′‐phosphate acts as an electrophile to the phosphate group of glucose 1‐phosphate. This appears to represent the first instance of the direct involvement of a phosphate group in catalysis by enzymes. (shrink)

Crispin Wright in his 1982 paper argues for strict finitism, a constructive standpoint that is more restrictive than intuitionism. In its appendix, he proposes models of strict finitistic arithmetic. They are tree-like structures, formed in his strict finitistic metatheory, of equations between numerals on which concrete arithmetical sentences are evaluated. As a first step towards classical formalisation of strict finitism, we propose their counterparts in the classical metatheory with one additional assumption, and then extract the propositional part of ‘strict finitistic (...) logic’ from it and investigate. We will provide a sound and complete pair of a Kripke-style semantics and a sequent calculus, and compare with other logics. The logic lacks the law of excluded middle and Modus Ponens and is weaker than classical logic, but stronger than any proper intermediate logics in terms of theoremhood. In fact, all the other well-known classical theorems are found to be theorems. Finally, we will make an observation that models of this semantics can be seen as nodes of an intuitionistic model. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey in 1992, distributed to 156 (...) art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)