The goal of this essay is a twofold one. My first task is mainly negative: I want to show that the heated debate over whether pleasure is a sensation misallocates the central task in understanding pleasure and has been based on an unexamined conception of sensation, despite the long philosophical tradition and topical opinions that hold the opposite . My second task is to bring out attention to a relatively uncharted territory in our investigation of pleasure. I shall argue, Gilbert (...) Ryle's Aristotelian insight on the pleasure in intelligent activities, when properly understood, should have led us, and Ryle himself, to investigate pleasure in connection with intentional action and practical rationality. (shrink)

This work attempts to respond to Tomas Aquinas' Cosmological Argument in a way that combines Set Theory with the idea of the ‘Book of Change’. The study defines the ith Cause Set on which to operate on, which leads to the ontological commitment of austerity that the ‘First Cause's Compromise with emergence’ cannot be avoided. It is argued in the present paper that the concept that ‘emergence only consists of Synchronic Emergence and Diachronic Emergence’ should be extended to a broader (...) notion of emergence, which is made up of the two discussed elements and a third one ‘No-Boundary Emergence’ (beyond the time dimension). The article defines the concept of No-Boundary Emergence, proves why it is a type of emergence that differs from the traditional two types, and asserts that it underlies the bottom layer of the cosmos. This study describes the common feature of all emergence as communication protocols between layers. The assemblage of all emergences behaves similar to a distributed system that cannot be restricted by Gödel's theorem. The paper provides evidence (in Big Bang Cosmology, Conformal Cyclic Cosmology, Superstring Theory, Quantum Gravity) for this point of view, and notes that emergence (in the context of No-Boundary Emergence) is not only a simple scientific theory but also a progressive scientific research programme that can spontaneously grow from scientific theory based on Platonism at the expense of a degenerating shift to the ontological commitment of austerity. This paper proposes an improved model of Schrödinger Cat that provides a new explanation for quantum measurement and argues that there must be a forbidden zone of thought experiments. The study also introduces the implications of ancient Chinese thoughts (namely, the ‘Book of Change’ and Confucius). The paper comes to the conclusion that emergence (crossing the gap between ‘being’ and ‘nothing’, while ignoring the forbidden zone of thought experiments) relieves ‘cosmological insufficiency’ in the sense of Neo-Aristotelism. (shrink)

In the 16th century, western science made a great leap. Meanwhile, in China, the development of textual criticism (including scholars Gu Yanwu 1613-1682, Dai Zhen 1724-1777, Duan Yucai 1735-1815, Wang Niansun 1744-1832) also facilitated the development of scientific factors (Hu Shi 1967).This paper argues that Qian-Jia scholars爷work represented a new era of traditional research that the value of scholarships and intellectual work (starting from Gu Yanwu 1613-1682, Dai Zhen 1724-1777, Duan Yucai 1735-1815, Wang Niansun 1744-1832, etc.) is essentially based on (...) what they created and believed, overtly or overtly, the principle of logic certainty—a newly developed indigenous rationalism in the Chinese intellectual history. (shrink)

The Protein Ontology (PRO; http://purl.obolibrary.org/obo/pr) formally defines and describes taxon-specific and taxon-neutral protein-related entities in three major areas: proteins related by evolution; proteins produced from a given gene; and protein-containing complexes. PRO thus serves as a tool for referencing protein entities at any level of specificity. To enhance this ability, and to facilitate the comparison of such entities described in different resources, we developed a standardized representation of proteoforms using UniProtKB as a sequence reference and PSI-MOD as a post-translational modification (...) reference. We illustrate its use in facilitating an alignment between PRO and Reactome protein entities. We also address issues of scalability, describing our first steps into the use of text mining to identify protein-related entities, the large-scale import of proteoform information from expert curated resources, and our ability to dynamically generate PRO terms. Web views for individual terms are now more informative about closely-related terms, including for example an interactive multiple sequence alignment. Finally, we describe recent improvement in semantic utility, with PRO now represented in OWL and as a SPARQL endpoint. These developments will further support the anticipated growth of PRO and facilitate discoverability of and allow aggregation of data relating to protein entities. (shrink)

One of the interpretive devices that Ch'eng-kuan (澄 觀) is famous for having employed to distill the essence of the vast Mahāvaipulya Buddhāvataṃsaka Sūtra (Tafang-kuang fo-hua-yen ching 《大方廣佛華嚴經》 was a series of variations on the contemplative theme (kuan-men 觀門) of the complete interfusion (yüan-jung 圓融) of the scripture's three chief protagonists (san-sheng 三聖) ── the Buddha Vairocana (Pi-lu-che-na 毘盧遮那) and the bodhisattvas Mañjuśrī (Wen-shu-shih-li 文殊師利) and Samantabhadra (P'u-hsien 普賢). By aligning these three powerful sacred persons with a number of (...) philosophical categories that he believed to be central to the sūtra ── categories like "cause" (yin 因 ), "fruition" (kuo 果 ), "faith" (hsin 信 ), "understanding" (chieh 解), "insight" (chih 智), "practice" (hsing 行), "principle" (li 理), etc. ── he provided a focal point at which the rich and vivid meditative and liturgical lives of Hua-yen devotees could be made to converge with their philosophical reflections. -/- Although Ch'eng-kuan invoked this device in several of his writings, his most concerted development of it is a short essay entitled San-sheng yüan-jung kuan-men, which appears to have been written relatively late in his long career. Like many important Hua-yen texts, this essay seems to have been lost in China not long after its author's death. However, it was preserved in Korea and Japan and from the latter country was reintroduced to China in the last years of nineteenth century. Neither in China nor in the West has it yet been adequately studied. -/- The core of the present article is a critical edition of the Chinese text of the essay based on a careful comparison of all available versions and presented together with a copiously annotated English translation. The edition translation are preceded by a brief interpretive introduction and followed by an appendix in which are given: a detailed discussion of the work's textual history, detailed accounts of its various editions, and descriptions of its several surviving paraphrases and commentaries. (shrink)

‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts (...) in Western academia, I establish ‘spirit consonance’ as the rendering of ‘Qi Yun’. By examining texts on painting by significant critics in Chinese art history, and by referring to specific works by painters from the Six Dynasties up to the Yuan Dynasty, I present the merits and demerits of the different interpretations by Western experts, and explore the essence of ‘Qi Yun’. Once the painter successfully captures ‘spirit consonance’ as the essential character or ‘internal reality’ of the object, and transmits it into the work, ‘Qi Yun’ further implies the expressive quality of the work beyond formal representation. Additionally, the fusion of expressive and representative functions also leaves space for further explaining the aesthetic interaction among artist, object, work, and audience. From the Six Dynasties onwards, Chinese painters have practised the expressive pursuit beyond epresentation on the basis of the unification of ‘Qi Yun’ (spirit consonance) and formal representation, although spirit consonance was valued more highly than formal likeness. (shrink)