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On the 14th of August 1941, a Polish monk named Maximilian Maria
Kolbe was murdered in Auschwitz. Kolbe's life had been remarkable.
Fiercely intelligent and driven, he founded a movement of
Catholicism and spent several years in Nagasaki, ministering to the
'hidden Christians' who had emerged after centuries of oppression.
A Polish nationalist as well as a monk, he gave sanctuary to
fleeing refugees and ran Poland's largest publishing operation,
drawing the wrath of the Nazis. His death was no less remarkable:
he volunteered to die, saving the life of a fellow prisoner. It was
an act that profoundly transformed the lives of two Japanese men.
Tomei Ozaki was just seventeen when the US dropped an atomic bomb
on Nagasaki, destroying his home and his family. Masatoshi Asari
worked on a farm in Hokkaido during the war and was haunted by the
inhumane treatment of prisoners in a nearby camp. Forged in the
crucible of an unforgiving war, both men drew inspiration from
Kolbe's sacrifice, dedicating their lives to humanity and justice.
In The Martyr and the Red Kimono, award-winning author Naoko Abe
weaves together a deeply moving and inspirational true story of
resistance, sacrifice, guilt and atonement.
How and why to write a movement? Who is the writer? Who is the
reader? They may be choreographers working with dancers. They may
be roboticists programming robots. They may be artists designing
cartoons in computer animation. In all such fields the purpose is
to express an intention about a dance, a specific motion or an
action to perform, in terms of intelligible sequences of elementary
movements, as a music score that would be devoted to motion
representation. Unfortunately there is no universal language to
write a motion. Motion languages live together in a Babel tower
populated by biomechanists, dance notators, neuroscientists,
computer scientists, choreographers, roboticists. Each community
handles its own concepts and speaks its own language. The book
accounts for this diversity. Its origin is a unique workshop held
at LAAS-CNRS in Toulouse in 2014. Worldwide representatives of
various communities met there. Their challenge was to reach a
mutual understanding allowing a choreographer to access robotics
concepts, or a computer scientist to understand the subtleties of
dance notation. The liveliness of this multidisciplinary meeting is
reflected by the book thank to the willingness of authors to share
their own experiences with others.
How and why to write a movement? Who is the writer? Who is the
reader? They may be choreographers working with dancers. They may
be roboticists programming robots. They may be artists designing
cartoons in computer animation. In all such fields the purpose is
to express an intention about a dance, a specific motion or an
action to perform, in terms of intelligible sequences of elementary
movements, as a music score that would be devoted to motion
representation. Unfortunately there is no universal language to
write a motion. Motion languages live together in a Babel tower
populated by biomechanists, dance notators, neuroscientists,
computer scientists, choreographers, roboticists. Each community
handles its own concepts and speaks its own language. The book
accounts for this diversity. Its origin is a unique workshop held
at LAAS-CNRS in Toulouse in 2014. Worldwide representatives of
various communities met there. Their challenge was to reach a
mutual understanding allowing a choreographer to access robotics
concepts, or a computer scientist to understand the subtleties of
dance notation. The liveliness of this multidisciplinary meeting is
reflected by the book thank to the willingness of authors to share
their own experiences with others.
The irresistible story of Japanese cherry blossoms, threatened by
political ideology and saved by an unknown Englishman 'This is not
just a tale of trees, but of . . . endeavour, war and
reconciliation' Sunday Times Collingwood Ingram, born in 1880,
became known as 'Cherry' for his defining obsession. As a young
man, he travelled to Japan and learned of the astonishing displays
of cherry blossoms, or sakura. On a return visit in 1926, Ingram
witnessed frightening changes to the country's cherry population. A
cloned variety was sweeping the landscape and being used as a
symbol for Japan's expansionist ambitions. Determined to protect
the diversity of the trees, Ingram began sending the rare varieties
from his own garden in England back to Japan with the help of a
network of 'cherry guardians'. This is an eloquent portrait of an
extraordinary man whose legacy we enjoy every spring, and his
unsung place in botanic history. 'Engrossing . . . A portrait of
great charm and sophistication' Christopher Harding, Guardian
Winner of the 2020 Award for Excellence from The Council on
Botanical and Horticultural Libraries
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