We believe that perfusion CT is a feasible alternative modality for the successful early response assessment and early detection of a marginally recurred tumor after TACE. However, perfusion CT has limitations for the prediction of tumor recurrence after TACE.

My paper discusses an East Asian notion of climate and its significance for sustainability. A particular reference is the environmental philosophy of Tetsuro Watsuji (1889–1960), a Japanese philosopher who reflected upon the meaning of climate, or “fudo” in the Sino-Japanese linguistic tradition. Watsuji sees fudo not merely as a collection of natural features—climatic, scenic, and topographical—of a given land, but also as the metaphor of subjectivity, or “who I am”. Furthermore, this self-discovery through fudo is never private but collective. By referring to a phenomenological notion of “ek-sistere”, or “to be out among other ‘I’s”, Watsuji demonstrates the pervasiveness of a climatic phenomenon and the ensuing inter-personal joining of different individuals to shape a collective sustainable measure in response to the phenomenon. My paper lastly concretizes the significance of fudo and its inter-personal ethical basis for sustainability by dwelling upon cross-ventilation in Japanese vernacular residential architecture. Cross-ventilation emerges only through what Watsuji calls “selfless openness” between different rooms predicated upon the joining of different ‘I’s soaked in hotness and humidity. Watsuji’s fudo thus offers a lesson that without considering the collective humane characteristic of a natural climatic phenomenon, any sustainable act is flawed and inefficient

No abstract

In his philosophy of nothingness, Kitar Nishida illuminates the matrix of transformation of the world ''from the Created to the Creating'' (tsukuru mono kara tsukurareta mono e) through shintai, or the body. In this matrix, shintai enters into the stage of an action-sensation continuum and emerges as the immaculate iconic tool of nothingness to create new figures as extended self. This idea of shintai has resonance with the development of postwar art in Japan. The ''Space of Transparency'' put forth by Ufan Lee, the leader of Monoha, is the principal example. This essay investigates Nishida's notion of shintai and its influence on Lee's theory of art.

No abstract