Brief Sketch of Personal History
| 1925
| born in Fushun, China (nationality : Japan)
| 1951
| graduated from the department of philosophy, the University of Tokyo | specialty: aesthetics 1951-1955
| graduate school, the University of Tokyo | major: philosophy of science 1955-1961
| Research Assistant at the University of Tokyo
| 1961-1972
| Lecturer, Associate Professor(1965), Professor(1971) at the Tokyo Metropolitan College of Aero-Technology
| 1971-1988
| Professor, the Metropolitan College of Technology, Tokyo
| 1986-1990
| Professor, the Metroploitan Institute of Technology
| 1990-1994
| Professor, the Nagano University
| 1994-1996
| Professor, the Tohoku University of Art and Design
| 1997-2001
| Visiting Professor, Tama Art University
| 1995-2006
| Lecturer, the Department of Philosophy, Nihon University
| 1990
| Professor Emeritus of the Metropolitan Institute of Technology
| 1996
| Professor Emeritus of the Tohoku University of Art and Design
| 1986
| Ph.D from the Osaka University
| 18 Dec 2012
| died in Kobe, Japan
| | |
Brief History of Research and Experiment
| 1950s | Semiotic Aesthetics | S.Langer, Ch.Morris 1960s
| Analytic Aesthetics | Informational Aesthetics M.Bense, A.Moles, L.Meyer and others Computer Art Experiments Markov chain picture production Tanka (Japanese 31 letter poem) production -- by Markov chain and generative grammer -- 1970s | Picture production by PDL (Picture Descriptive Language) | Music composition and performance experiments Theoretical Researches for Post Markov model Chomsky's Generative Grammer and PDL Artificial Intelligence 1980s
| Theoretical Researches for Post AI | The Society of Mind Theory M.Minsky, S.Papert and others The Frame Theory semantic and pragmatic Experiment KSOM (Kawano Society of Mind) by LOGO DORAEMON - Pragmatic Frame Programming - 1990s
| Theoretical Research | from sequencial to parallel computation folk theory for post-computational aesthetics 2000s
| New Paradigm for Art Revolution | -- parallel distributed processing aesthesis and art Physical and Mathematical Foundation to the New Aesthetics | |