現実を視よ (Japanese Edition)

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There is no doubt in my mind that Mikiya Takimoto bore both of these emotions as he stood in that town, along that seashore. Is there a meaning to the distinction between fact and fiction in the face of such irreplaceability? March 29, Hirokazu Kore-eda film director -- From text contributed to the book.


The face of the ocean when perceived from a distant, commanding viewpoint is not familiar; it gives off a sense of otherness like something completely different. There is yet to be any confirmation of other oceans existing in this galaxy other than the planet we live on. These photos capture the moment of an act that has taken place without pause since the primordial days of this planet's origin - portraits that will reaffirm the identity of planet Earth.

This is a collection that takes an entirely different approach towards the universal, almost classic theme of the sea. Known as an active center of geothermal activity, it's geysers, hot mud pools and other natural features scattered throughout the area create a surreal scene of wonder. As I felt the pulse of the very earth itself, I silently released the shutter as if reeling in something buried deep within the labyrinth of my unconsciousness. The remote regions of the earth is a theme of countless photograph collections.

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What people ordinarily find unusual is the remoteness of the photograph locations, which are so far from the sphere of their daily existence. It arouses their interest. Perhaps this was how earth was long before life appeared. And it is how our planet still is even now. What he puts into visualization is the tension that exists on the threshold between the two. Inside a mysterious blue cone a countless number of lines form a radial pattern.

The photographs taken closer up to the nose cone of the space shuttle of the black heat shield tiles, each one dissimilar in shape to the others and made to a variety of precise specifications, project a coldness that feels more like science fiction than science fiction. The boundary is crossed, but at the same time it is not crossed. We look through it to the LAND of a planet far away that mankind still does not know of. But the space shuttle acts as a needle whose path is the thread that has stitched both together so many times. Before we see the photographs, we are unable to understand the true meaning of the combination.

Our eyes and our bodies are the first to be convinced. In the midst of the fierce earthquake of gravity and zero gravity struggling against each other, we are strangely immersed in a meditative tranquility. Take over four billion years, leave things perfectly to chance, and then find that it looks like this! The earth is so beautiful that even adamant non-believers sometimes, in spite of themselves, are tempted to think that it must be the creation of some superior being.

But what moves us about the uninhabited LAND we see in this collection is the complete purposelessness of such beauty. It is beauty for the sake of beauty and otherwise useless.

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This very sense of being at the opposite extreme of human civilization is why it becomes an object of longing. The space shuttle, while it is an object that represents the culmination of human civilization, also has about it an air of purposelessness and uselessness, as nature itself does. No other existence on earth has made such desperate efforts to foolishly travel back and forth to earth. But this is the surest proof of the endearing quality that mankind possesses to some extent. And of course, the photographs that are all of these. Keiichiro Hirano novelist -- From text contributed to the book.

Examining the history of humanity, civilizations have always been founded near flowing waters and flourishing forests. A civilization that lost its forest, almost without exception, has perished. Forests sustain life, store water, protect ecosystems from disasters, and support humanity. Today, with an unseen speed of globalization, and an equally rapid destruction of forests, I feel anxious as the end of civilization becomes increasingly visible.

Whether as individuals or as corporations, I find that it is our responsibility as a part of our global civilization to solve this problem we have caused. Sharing these ideologies, the 5 of us: Haruomi Hosono, Yukihiro Takahashi, Shinichi Nakazawa, Moichi Kuwahara and I founded ''more trees'' along with over supporters. The ''more trees forests'' spread faster surpassing our expectations.

Currently there is 1 forest in the Philippines and 8 in Japan. It's a beautiful forest near the entrance of Asama Mountain with Karamatsu larch , Akamatsu red pine and various types of Koyojyu broad-leaf trees. Time passed, and a few of those involved in the project voiced their desire to capture this beautiful forest on camera, and soon enough, I was also convinced that this would be an important undertaking to preserve its beauty.

I immediately thought of and recommended Mikiya Takimoto for this task and fortunately, everyone agreed with me. These visits to the forest crystallized into this book. Long an object of worship in many civilizations, it conveys notions of life and creativity. The keeper of memory, it represents longevity and immortality.

Physically linked to the earth, to the sky where it looks for light, to the water that nourishes it and which it protects, to the air whose purity it maintains, the tree brings together the four elements essential to life. After his series Land and Space, Mikiya Takimoto turns to the tree and the forest and goes on a search for the essence of this vegetal world, which is both surprising and mysterious.

As in a music score, he arranges his images in succession, one at a time, to immerse us in lush forest spaces, and invites us to get to the heart of this nature in what is most essential to it, the origin of life. The precision of framing, which has vegetation soar up towards the sky, the sophistication of images which track the least twig, the play with focus, guiding us from the close to the distant: everything concurs to express this intense, taut world full of gravity, beauty, and spirituality.

Still, even as the time of a tree is not the time of men, these protective giants are fragile. It would have been easy for the photographer to touch on the aggressions to which forests are subjected. Many others have taken on the task, exposing issues ranging from climate change to unplanned clearings to destructive exploitation.

Mikiya Takimoto has opted for an account of passing seasons, which he fulfills with an unassuming virtuosity :colors change, green turns into russet, a once abundant foliage gives way to twigs, the blue of the sky appears and disappears, shadows loom. Little by little, the forest as a whole meets with the temptation of whiteness as a metaphor symbolic of life and death.

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Of course, the winter is coming. Imperceptibly, images sow doubt, uncertainty Are these patches of fog to be followed by a spring?

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What if nothing returned as before? Once steady and strong, the forest has become precarious, with the seasons allegorizing a threat, a possible extinction.

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Trees, which mediate between the visible and the invisible, then represent the passing of time and the unpredictability of life. Yet Mikiya Takimoto, who always admirably and skillfully shapes his images, offers us a life lesson full of subtlety and, like a conductor, guides us towards the idea of renaissance and renewal : the spring will in fact come. No human presence comes to disturb the life of this forest: this is also a choice by the photographer. From time to time, an ordinary leaf alone reaches out to us, like an invitation. In fact, and quite deliberately, Takimoto thus proposes to each of us to be the only spectator of these images open to our sensitivity.

He also invites us to touch with our eyes the persistent, exuberant presence of the forest, to step into photographic matter and make the experience a sensory adventure. He has made this forest universal ; he is now turning it into an earthly paradise open to the meditation of a solitary walker whose position he invites us to assume. Each image then becomes a space for contemplation, creating a dialogue both plastic and symbolic which here finds an emblematic expression at the crossroads of our scientific, cultural, and artistic concerns.

The creation of high-quality products involves working with respect for raw materials and nature. This is why, at Louis Vuitton, we have always paid the greatest attention to environmental conservation.

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Since its creation, Louis Vuitton has chosen to use top-grade poplar wood to manufacture its trunks. For Louis Vuitton, who was born at the foot of the Jura massif, wood was more than a production component; it represented the very heart of creation. I myself have a real passion for forests and nature. I like to go for long walks and observe with admiration how it evolves and changes colours through the seasons. While forest protection is something particularly important to me, it also represents a major issue for our Maison.

By protecting forests, we allow our children to enjoy them in turn. Patrick - Louis Vuitton Louis Vuitton, and fifth-generation family member -- From text contributed to the book Louis Vuitton harbors strong ties with the world of nature and forests. Louis Vuitton himself was born in the Jura region of France, well known for its beautiful mountains and forests.

When Louis Vuitton left his hometown in the Jura at the age of 14 and walked kilometers to Paris, it was upon his arrival that he found work as a layetier emballeur trunk-maker packer. A trade that requires the fundamental use of quality wood, Louis Vuitton has since its origins been linked to the forest.

In , Louis, whose work was highly regarded, earned a name for himself by becoming the personal layetier to Empress Eugenie, the wife of Napoleon Ill. It was Louis' son, Georges Vuitton who took after his father's drive and ambition. He ventured into overseas markets and contributed to the development of products such as supple bags, one most known as the Steamer Bag.

Georges Vuitton took his father's craftsmanship and business and propelled it to the next level, making one of the Maison's strongest values that of transmission and tradition. The 20th century was a time for growth and adventure for Louis Vuitton. In , Louis Vuitton arrived in Japan, later triggering worldwide success for the Maison. Japan has played an important role in the history of Louis Vuitton. Japan is widely known for having a taste for quality, tradition, revolutionary technology and for its spirit of challenge; Japan had a beneficial impact on the Maison Louis Vuitton.

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