SAR_sarsential™_toolbox_14/14
Above: PGIA 30K SAR BLMTT. Sarsential 14: edge [ lead from the front ]
(1) "A shell exploded outside. [ Sgt. Earl ] Hale was standing by the door. He got hit by a piece of shrapnel and went down. An SS officer pulled his knife from his boot and slashed Haze's troat. He failed to cut an artery or sever the windpipe, but did cut the esophagus [ commonly known as the foodpipe or gullet ]. Blood gushed out. [ Pvt. Joseph ] Liebgott shot the officer who did the cutting, then the others. Medic [ Pvt. Eugene ] Roe got sulfa powder in Hale's wound. A jeep evacuated him to Luxembourg, where an amazed doctor patched him up, leaving a crooked esophagus. Because of Hale's condition, the doctor gave him a medical order stating that he did not have to wear a necktie. (Later, Hale was stopped by an irate General Patton who chewed him out for not wearing his necktie. Hale triumphantly produced his slip of paper, leaving Patton for once speechless.)"
Stephen E. Ambrose on page 218 of 'Band of Brothers', first published in USA by Simon & Schuster, Inc., 1992
(2) '''All wars are full of stories that sound like fiction.' [...] "Tell me something.' He spoke with his hand on the doorknob; the door was half open. 'Why did you want to find the soldier who saved Sanchez Mazas?' Without a moment's hesitation I answered: 'To ask him what he thought that morning, in the forest, after the execution, when he recognized Sanchez Mazas and looked him in the eye. To ask him what he saw in those eyes. Why he spared him, why he didn't give him away, why he didn't kill him. [...] Because if anybody deserved to be shot it was Sanchez Mazas.' [...] "There's one thing I didn't tell you,' I said to Miralles. 'Sanchez Mazas knew the soldier who spared him. One time he saw him dancing a paso doble in the gardens of Collell. Alone. The paso doble was "sighing for Spain".' Miralles stepped off the kerb and came over to the taxi, leaning his big hand on the rolled-down window. I was sure I knew what the answer was going to be, because I didn't think Miralles could deny me the truth. Almost pleading, I asked him: 'It was you, wasn't it?' After an instant's hesitation, Miralles smiled widely, affectionately, just showing his double row of worn-down teeth.
His answer was:
'No.'
He took his hand off the window and ordered the taxi to start up. Then, abruptly, he said something that I didn't hear (maybe it was a name, but I'am not sure) because the taxi had started moving and though I stuck my head out the window and asked what he'd said, it was already too late for him to hear me or answer me; I saw him raise his stick in a final farewell gesture and then, through the back window of the taxi, walk back to the home, slow, dispossessed, practically one-eyed, and happy, with his grey shirt, his threadbare trousers and felt slippers, getting smaller and smaller against the pale green facade, his proud head, tough profile, his large, swaying and dilapidated body, supporting his unsteady steps with his stick, and when he opened the garden gate I felt a sort of premature nostalgia, as if, instead of seeing Miralles, I were already remembering him, perhaps because at that moment I thought I wasn't going to see him again, that I was always going to remember him like this [...] the refection dissolves and in the window appears an endless and burning desert and a lone soldier, carrying the flag of a country not his own, of a country that is all countries and only exists because that soldier raises its abolished flag. [ W ] alking onwards beneath the black sun […] onwards, onwards, onwards, ever onwards."
Javier Cercas 'Soldier of Salamis', page 22, 200, 201, 203 and 208, translated from the Spanish by Anne McLean, originally published in Spain as 'Soldados de Salamina', 2001, first published in Great Brittain by Bloomsburry Publishing Plc, London, 2003
(3) "Some people want to make the world a better place. I just wanna make the world a better-looking place. If you don't like it, you can paint over it!"
Banksy, BBC News, Friday, 31 May, 2002
Banksy website: http://banksy.co.uk/
(4) "No questions, no answers. That's the business we're in. You accept it and move on [...] "
Actor Jean Reno as 'Vincent' in John Frankenheimer's film 'Ronin', final scene before end-credits
'Ronin' original screenplay by J.D. Zeik, draft: May 20, 1997: http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Ronin.pdf
(5) "When you put your paintbrush on the canvas, you don’t know exactly what you are going to do. You have an idea, you have an inkling, but it is only when you’re actually present, in front of it, when you start to get an idea of exactly what you are going to do, or maybe not even then, and then the structure or the form takes over. […] To come to a moment when something happens. You see a painting and you feel it happens and you don’t know what it is. That moment of freefall. One has to remind oneself of these moments. That is the reason why I got into art in the first place. [ P ] enetrate through this coat of armour that everyone wears every day. […] Art is like gold. […] It is […] hard to get."
Steve McQueen The Finger and the Eye, A conversation between Steve McQueen and Marlene Dumas, 2006 http://www.marlenedumas.nl/the-finger-and-the-eye/
(6) Sarsentials™ are experienced and recorded from scratch, trough Strategic Alert Running Best-Level-Mixed-Terrain-Training, SAR BLMTT , edited and retold using website-based application of Photo Generated Injury Analysis, PGIA. Basic needs: minimum resources necessary for long-term physical well-being.
Sarsential 1 : empty canvas [ route, terrain ]: http://bartvanbroekhoven.com/en-US/running/124-sar-toolbox
Sarsential 2 : train and trust your Immune System (TTIS): http://bartvanbroekhoven.com/en-US/running/125-sar-sarsential-toolbox-2-14
Sarsential 3 : awesome-ice-power for tendon care after training: http://bartvanbroekhoven.com/en-US/running/126-sar-sarsential-toolbox-3-14:
Sarsential 4: preparation, discipline and habituation unite in mixed-terrain-training (MTT): http://bartvanbroekhoven.com/en-US/running/127-sar-sarsential-toolbox-4-14
Sarsential 5: awesung [ Samsung ] photocamera for finish shot: http://bartvanbroekhoven.com/en-US/running/128-sar-sarsential-toolbox-5-14
Sarsential 6: website-based-workflow [ i.e.: resourceful environment] for PGIA™ application: http://bartvanbroekhoven.com/en-US/running/129-sar-sarsential-toolbox-6-14
Sarsential 7: training off, sauna on [ skipp training, rest and recover ]: http://bartvanbroekhoven.com/en-US/running/130-sar-sarsential-toolbox-7-14
Sarsential x: the Kambei-Point of View [ midpoint in the narrative; redirecting negativism towards reasonability and decisiveness, from an empathic POV ]: http://bartvanbroekhoven.com/en-US/running/131-sar-sarsential-toolbox-x
Sarsential 8: deep-breath: http://bartvanbroekhoven.com/en-US/running/132-sar-sarsential-toolbox-8-14
Sarsential 9: "Don't mention the war." [ adapt, improvise and improve efficiency ]: http://bartvanbroekhoven.com/en-US/running/133-sar-sarsential-toolbox-9-14
Sarsential 10: 50.853452°N 0.574787°E [ anywhere ]: http://bartvanbroekhoven.com/en-US/running/134-sar-sarsential-toolbox-10-14
Sarsential 11: sashimono [ brand-tag, trademark, identity ]: http://bartvanbroekhoven.com/en-US/running/136-sar-sarsential-toolbox-11
Sarsential 12: Pit-Stop-Run™ (PSR) [ short, efficient training whilst on the road, supporting the blood flow and happiness of tendons, muscles and bladder ]: http://bartvanbroekhoven.com/en-US/running/137-sar-sarsential-toolbox-12-14
Sarsential 13: mission [ get your stuff together, unite ]: http://bartvanbroekhoven.com/en-US/running/138-sar-sarsential-toolbox-13-14
Sarsential 14: edge [ lead from the front ]: http://bartvanbroekhoven.com/en-US/running/139-sar-sarsential-toolbox-14-14
Sarsential Toolbox Feeling good, creating new stories™
(7) "[L] eadership in a [ more beautiful ] world [ our hearts know is possible ] : [...] someone who creates opportunities for others to give their gifts."
Charles Eisenstein, on page 156 of 'The More Beautiful World Our Hearts Know is Possible', published by North Atlantic Books, Berkeley, 2013
