The word “real” (from the Latin “res” = thing) was coined in the 13th century to signify “having Properties” (Pierce. 1958, p. 358), whereas a “model” refers to an analogical representation, the structure of which should correspond to the structure or properties of that which it represents. For Scudder the mind is a system of models and each mind develops different models. We all have a different reality in mind and so we each live in a slightly different world (Scudder, (...) 1975). Hence the real nature of the model and the model nature of reality are often indistinguishable. A snail, for example, when exposed to four tactile stimuli per second (with a rod on his belly) will be compelled to crawl upon that non-existing coherent spatial surface (Brecher, 1966). For the snail four tactile stimuli per second correspond to, or are isomorphic with, the structure of a spatial surface, but it is impossible for the snail to “know” which of the two structures is real. (shrink)

In his _Treatise on the Golden Lion_, Fazang says that wholes are _in_ each of their parts and that each part of a whole _is_ every other part of the whole. In this paper, I offer an interpretation of these remarks according to which they are not obviously false, and I use this interpretation in order to rigorously reconstruct Fazang's arguments for his claims. On the interpretation I favor, Fazang means that the presence of a whole's part suffices for the (...) presence of the whole and that the presence of any such part is both necessary and sufficient for the presence of any other part. I also argue that this interpretation is more plausible than its extant competitors. (shrink)

As most commentators on Japanese aesthetics agree, the Japanese aesthetic is pervaded by a profound affirmation of things in their suchness or original uniqueness, and at the same time is tinged with an element of sadness or melancholy. While the responses of affirmation and melancholy seem rather subjective and may—at first glance—appear inconsistent with Buddhist notions like anatman, or non-self and the Buddhist demand for non-attachment, I shall argue that a more careful reading of certain Buddhist doctrines, specifically the doctrine (...) of dependent origination or pratitya-samutp da, reveals that the basic tenets of Buddhism are not only consistent with these sorts of subjective responses, but in fact serve to help explain the dual nature of the Japanese aesthetic. Accordingly, I shall suggest that given the undeniable influence Buddhism has had on Japanese culture, it seems likely that the doctrine of dependent origination is not only compatible with, but also contributed to the formation of what we regard as the Japanese aesthetic. (shrink)

This paper examines the metaphysics of interdependence in the work of the Chinese Buddhist Fazang. The dominant approach of this metaphysics interprets it as a species of metaphysical coherentism wherein everything depends upon everything else, no individual is more fundamental than any other, and so reality itself is non-well-founded in the sense that chains of dependence never terminate. I argue, to the contrary, that Fazang's metaphysics is better interpreted as a novel variety of foundationalism. I argue, as well, using set- (...) and graph-theoretic techniques, that there is a consistent way to model this alternative interpretation, and that this model differs in significant ways from a coherentist model. (shrink)

Thesis (Ph.D.)--University of Hawaii at Manoa, 2008.

In Plato's Parmenides , Socrates proposes a 'Day' analogy to express one possible model of part/whole relations. His analogy is swiftly rejected and replaced with another analogy, that of the 'Sail'. In this paper, it is argued that there is a profound difference between these two analogies and that the 'Day' represents a distinct way to think about part/whole relations. This way of thinking, I argue, is the standard way of thinking in East Asian Buddhism. Plato's 'Day' analogy can then (...) be used to illuminate the meaning of an opaque but very important concept in East Asian Buddhism: li , which in this paper is developed as a modal concept of 'Wholeness'. (shrink)