Results for 'Takashi Ikegami'

17 found
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  1.  47
    A Strategy for Origins of Life Research. [REVIEW]Caleb Scharf, Nathaniel Virgo, H. James Cleaves Ii, Masashi Aono, Nathanael Aubert-Kato, Arsev Aydinoglu, Ana Barahona, Laura M. Barge, Steven A. Benner, Martin Biehl, Ramon Brasser, Christopher J. Butch, Kuhan Chandru, Leroy Cronin, Sebastian Danielache, Jakob Fischer, John Hernlund, Piet Hut, Takashi Ikegami, Jun Kimura, Kensei Kobayashi, Carlos Mariscal, Shawn McGlynn, Bryce Menard, Norman Packard, Robert Pascal, Juli Pereto, Sudha Rajamani, Lana Sinapayen, Eric Smith, Christopher Switzer, Ken Takai, Feng Tian, Yuichiro Ueno, Mary Voytek, Olaf Witkowski & Hikaru Yabuta - 2015 - Astrobiology 15:1031-1042.
    Aworkshop was held August 26–28, 2015, by the Earth- Life Science Institute (ELSI) Origins Network (EON, see Appendix I) at the Tokyo Institute of Technology. This meeting gathered a diverse group of around 40 scholars researching the origins of life (OoL) from various perspectives with the intent to find common ground, identify key questions and investigations for progress, and guide EON by suggesting a roadmap of activities. Specific challenges that the attendees were encouraged to address included the following: What key (...)
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  2. Professor Quine on Japanese Classifiers.Takashi Iida - 1998 - Annals of the Japan Association for Philosophy of Science 9 (3):111-118.
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  3.  89
    Indirect Passives and Relational Nouns (I).Takashi Iida - 2012 - Keio Gijuku Daigaku Gengo Bunka Kenkyu-Sho Kiyou 43:19-42.
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  4. Philosophy of Mental Time — A Theme Introduction.Lajos Brons & Takashi Iida - 2019 - Annals of the Japan Association for Philosophy of Science 28:1-8.
    (First paragraphs.) — The notion of “mental time” refers to the experience and awareness of time, including that of past, present, and future, and that of the passing of time. This experience and awareness of time raises a number of puzzling questions. How do we experience time? What exactly do we experience when we experience time? Do we actually experience time? Or do we infer time from something in, or some aspect of our experience? And so forth. These and many (...)
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  5. Indirect Passives and Relational Nouns (II).Takashi Iida - 2013 - Keio Gijuku Daigaku Gengo Bunka Kenkyu-Sho Kiyou 44:21-42.
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  6. Japanese Passives and Quantification in Predicate Position.Takashi Iida - 2011 - Philosophia Osaka 6:15-40.
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  7. Towards a Semantics of Japanese Existential Sentences.Takashi Iida - 2007 - In M. Okada (ed.), Essays in the Foundations of Logical and Phenomenological Studies (Interdisciplinary Series on Reasoning Studies, Vol. 3). Keio University. pp. 67-96.
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  8. Existence, Identity and Empty Names.Takashi Iida - 2008 - Interdisciplinary Logic 1:107-117.
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  9. How Are Language Changes Possible?Takashi Iida - 2009 - In M. Okada (ed.), Ontology and Phenomenology: Franco-Japanese Collaborative Lectures. Keio University. pp. 75-96.
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  10. Indirect Passives and Relational Nouns (III).Takashi Iida - 2015 - Keio Gijuku Daigaku Gengo Bunka Kenkyu-Sho Kiyou 46:71-110.
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  11. On the Concept of a Token Generator.Takashi Iida - 2013 - Annals of the Japan Association for Philosophy of Science 21:37-55.
    There is a widely shared account of the distinction between types and tokens, which might be termed the standard account. However, it has some surprising consequences that are not always realized. According to the standard account, a type is a contingent abstract object that can be created by us, but it does not allow any change and can never be destroyed once it is created, because it is an abstract object. I would like to present an alternative account of types (...)
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  12. Perceiving Abstract Objects: Inheriting Ohmori Shozo's Philosophy of Perception.Takashi Iida - 2012 - In S. Watanabe (ed.), Logic and Sensiblity. Keio University Press.
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  13. Russell on Plurality.Takashi Iida - 2011 - In CARLS Series of Advanced Study of Logic and Sensibility, Vol. 4. Keio University. pp. 273-282.
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  14. Towards an Ontology of the Rainbow.Takashi Iida - 2013 - Politics and Society (Central China Normal University) 1 (1):59-84.
    There are some objects of perception that are either too far from us to touch or that cannot be touched at all. Typical examples are the sky and the various phenomena that appear in the sky such as rainbows and sunsets. This paper is concerned with the ontological status of the rainbow. Does it exist when it is not actually perceived? Does it exist even when it is not possibly perceived? My conclusion is that a rainbow is a physical event, (...)
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  15. Non-Restrictive Distinction in Possessive Nominals.José Bonneau, Pierre Pica & Takashi Nakajima - 1999 - In Kimary Shahin, Susan Blake & Eun-Sook Kim (eds.), Proceedings of the 17th West Coast Conference on Formal Linguistics. CLSI.
    We propose that the restrictive/non restrictive distinction found in relative clauses corresponds to the Inalienable vs Alienable distinction of the Nominal Possessive constructions. We propose to extend this distinction to adjectives suggesting that is not construction specific.
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  16. Against Yagisawa's Modal Realism.Mark Jago - 2013 - Analysis 73 (1):10-17.
    In his book Worlds and Individuals, Possible and Otherwise (2010), Takashi Yagisawa presents and argues for a novel and imaginative version of modal realism. It differs both from Lewis’s modal realism (Lewis 1986) and from actualists’ ersatz accounts (Adams 1974; Sider 2002). In this paper, I’ll present two arguments, each of which shows that Yagisawa’s metaphysics is incoherent. The first argument shows that the combination of Yagisawa’s metaphysics with impossibilia leads to triviality: every sentence whatsoever comes out true. This (...)
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  17.  72
    The Underlying Term Is Democracy: An Interview With Julian Stallabrass.Vid Simoniti - 2010 - Postgraduate Journal of Aesthetics 7 (3):1-12.
    In Art Incorporated, you seek to debunk the myth of the artworld as autonomous of the market forces of global capitalism. Instead, you argue, works of art have become yet another commodity. However, one could say that works of art have always been commodities as well as objects of aesthetic appreciation. What makes the problem pertinent now, in the age of artists like Takashi Murakami, Jeff Koons and Damien Hirst?
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