The lecturer would like to explain about some problems Japanese society is facing with such as the aging society, issue of nursing the elderly, activation or creation of local society, basing on data. In particular, we would like to think about relationship between scale of city and happiness. He has widely done research on international economics, economics of family and population problem, and written a lot of papers and books. He would give a hint about how to treat with such difficult problems by applying modern economic theory to them this time.

讲座将对国外各种跨文化能力评价模型进行综合分析，结合中国国情，探讨中国大学生跨文化能力构成维度及中国大学生跨文化能力综合评价模型的评价机理和操作方法，另外，基于AI人工智能视角，探讨采用模糊综合评价方法和BP神经网络方法评价跨文化能力的重要性与应用前景。

This lecture takes a closer look at the nature of international scholarly publication. Publishing is a prerequisite for success in the modern university, but there is very little discussion among humanities scholars about the characteristics of publishable scholarship. In this talk, Professor Leonard Neidorf attempts to identify the implicit criteria that editors of international journals use when they evaluate the merit of submissions. He then identifies some respects in which the journals’ criteria are at odds with current humanities pedagogy, and he recommends some ways to bring publishing and pedagogy into greater harmony. Beyond this philosophical discussion, the talk offers a wide range of practical advice for increasing one’s success in journal publishing based on Professor Neidorf’s experience with over sixteen different international humanities journals.

William S. Burroughs worked with sound and word as discrete, digital units of information, creating recombinant effects on a reader’s consciousness through the operation of chance operations that momentarily empty the semantic register and allow pure sound to occur, as in mantra. In novels such as Naked Lunch and The Soft Machine, Burroughs sought, through a sequence of recombined information, to reprogram consciousness into a cacophonous, silent register beyond the verbal.
Cutting texts into slices and rearranging them towards a reprogramming on the scale of consciousness anticipates the recombinant DNA technologies, if not the concepts, that would transform the evolutionary scale of life all the way up to today’s CRISPR. Assured by molecular biology that DNA is a kind of “word”, Burroughs seeks, like CRISPR, to rewrite it by cutting it up.  As a “virus from outer space”, Burroughs’ imaginative meta-description of language is itself shaped by the discourse of both Francis Crick’s discourse of panspermia - where nucleic acids are ubiquitous galactic hitch hikers hosted by appropriate planetary petri dishes such as our own - and alien abduction, where abductee accounts have continual recourse to the language and practices of DNA manipulation - the informatic vision of nascent genomics. This talk will ponder the parallel fashion in which both discourse of the alien and of biotechnology itself can be seen through this digital lens to have been “abducted” by the idea of recombinant information, itself at play in Burroughs work. Modeling alien phenomena as themselves artificial life forms caught up in the sexual selective frameworks of human consciousness hosting them will be further explored.

William Seward Burroughs wrote some of the most brutal and hilarious texts of the 20th century, novels, stories, essays and paintings that sought to shatter what he perceived to be the monotonous "control" of the egoic mind through what he called a “blast of silence.” This talk will seek to explore Burroughs’ literary technique of the “blast of silence” as a direct operation of the artist on the conscious mind of a willing reader, whose “narrative mind” is usually consumed by the malware of the internal monologue - what Burroughs called the “word virus” that is hosted by the subject/ object mind. Through his collaboration with Brion Gysin and Ian Sommerville, Burroughs worked with sound and word as information, creating recombinant art through the operation of chance operations that momentarily empty the semantic register and allow pure sound to occur, as in mantra. As in the epigraph above, Burroughs conceived his own writing as a kind of anti-viral program for humans captured by the allure of control through continuous surveillance and biotechnology and technoscientific control. Through this alarm and blast of silence, Burroughs's texts can momentarily empty a reader or a listener’s mind of its incessant verbal content. Here Burroughs achieves a kind of “naked lunch” with the reader, the space of consciousness beyond word Burroughs called the Third Mind.