鬯ッ�ッ�ス�ィ�ス�ス�ス�セ鬮ッ�キ髣鯉スィ�ス�ス�ス�キ�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�コ鬯ッ�ッ�ス�ョ�ス�ス�ス�ッ�ス�ス�ス�ス�ス�ス�ス�ヲ�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス�ス: 2004年 9月28日鬯ッ�ゥ隰ウ�セ�ス�ス�ス�オ�ス�ス�ス�ス�ス�ス�ス�イ�ス�ス�ス�ス驍オ�コ�ス�、�ス縺、ツ€鬯ッ�ゥ隰ウ�セ�ス�ス�ス�オ�ス�ス�ス�ス�ス�ス�ス�イ�ス�ス�ス�ス驍オ�コ�ス�、�ス縺、ツ€鬯ッ�ゥ隰ウ�セ�ス�ス�ス�オ�ス�ス�ス�ス�ス�ス�ス�イ�ス�ス�ス�ス驍オ�コ�ス�、�ス縺、ツ€ 無窮ナレッジ
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▼真と美の差異

真(科学)と美(芸術)。
 
差異:
>科学的研究と芸術的な仕事の間の、もう一つの重要な差異である。つまり、
>前者は一般化を求めるし、後者はより多くの特殊な事例に関心を持つ傾向がある。
 
関寛治, 犬田 充 and 吉村 融 : 行動科学入門 (講談社, 1970) p.34
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