Some context: Robert Owen (; 14 May 1771 - 17 November 1858) was a Welsh textile manufacturer, philanthropic social reformer, and one of the founders of utopian socialism and the cooperative movement. Owen is best known for his efforts to improve the working conditions of his factory workers and his promotion of experimental socialistic communities.
Although Owen made brief visits to the United States, London became his permanent home and the centre of his activities in 1828. After an extended period of friction with William Allen and some of his other business partners, Owen relinquished all of connections to New Lanark. He is often quoted as comment Allen at the time, "All the world is queer save thee and me, and even thou art a little queer". Having invested most of his personal fortune in the failed New Harmony communal experiment, Owen was no longer a wealthy capitalist; however, he remained the head of a vigorous propaganda effort to promote industrial equality, free education for children, and adequate living conditions in factory towns. In addition, he delivered lectures in Europe and published a weekly newspaper to gain support for his ideas.  In 1832 Owen opened the National Equitable Labour Exchange system, a time-based currency in which the exchange of goods was effected by means of labour notes; this system superseded the usual means of exchange and middlemen. The London exchange continued until 1833; a Birmingham branch operated for only a few months until July 1833. Owen also became involved in trade unionism. He briefly served as the leader of the Grand National Consolidated Trade Union (GNCTU) before its collapse in 1834.  Socialism first became current in British terminology in the discussions of the Association of all Classes of all Nations, which Owen formed in 1835 and served as its initial leader. Owen's secular views also gained enough influence among the working classes to cause the Westminster Review to comment in 1839 that his principles were the actual creed of a great portion of them. However, by 1846, the only long-lasting result of Owen's agitation for social change, carried on through public meetings, pamphlets, periodicals, and occasional treatises, remained the co-operative movement, and for a time even that seemed to have utterly collapsed.
anyother important thing
A: Owen relinquished all of connections to New Lanark.
Some context: Toru Takemitsu (Wu Man  Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.
In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] Pierre Schaeffer invented the method(s) of musique concrete based on the same idea as mine. I was pleased with this coincidence."  In 1951, Takemitsu was a founding member of the anti-academic Jikken Kobo (Shi Yan Gong Fang , "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956). Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later.  In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957  listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan. (The NHK had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the Koussevitsky Foundation which, he assumed, had come as a suggestion from Stravinsky to Aaron Copland. For this he composed Dorian Horizon, (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Copland.
did he win any rewards or recognition?
A: