SAR_sarsential™_00_aspect_ratio
Above: "Le crew hollandais légendaire¹" GVB's double-headed top-to-bottom-whole-train at Haarlem refurbishment and overhaul-depot, yesterday. Sarsential 00: aspect ratio [ watching with a detached gaze ] (click on image for close-ups, large format available upon request)
"During the shooting of a scene the director's eye has to catch even the minutest detail. But this does not mean glaring concentratedly at the set. While the camera's are rolling. I rarely look directly at the actors, but focus my gaze somewhere else. By doing this I sense instantly when something isn't right. Watching something does not mean fixing your gaze on it, but being aware of it in a natural way.I believe this is what the medieval Noh playwright and theorist Zeami meant by "watching with a detached gaze."
Akira Kurosawa: "Advice to young people considering a career in filmmaking", adapted by Audie E. Bock, first published in 1975, cited from 'Something Like an Autobiography' (page 191, 'Some Random Notes on Filmmaking')
"A top-to-bottom whole [ train ] covers the entire side of the [ train ], windows and all. Some writers will only do top-to-bottom whole [ trains ], disdaining anything less complete. Others, particularly during periods when the Transit Authority is vigilant, feel that to cover the windows is a waste of time, since these are the first part of the [ train ] to be cleaned, and usually with solvent who drips down, streaking the piece below. Window-downs last longer, but the top-to-bottom whole [ train ] is the graffiti writer's finest achievement. It is here that he displays his virtuosity […]. The initials […] which accompany the writer's names, stand for their crews. [A crews is: ] a unit of dudes who work together to achieve a goal: to get up and to go all city […] Crews are made up of trusted friends, […] a bunch of brothers that are down by street law with each other. […] There is a strong sense of community within a crew and members will expel those writers who are only out for themselves. […]"
Martha Cooper and Henry Chalfant in 'Subway Art', page 74 and 50, first published in Great Brittain by Thames and Hudson Ltd, Londen, 1984
See also: (Close-ups piece above) http://bartvanbroekhoven.com/en-US/running/159-supplement-to-sarsential-00-22
Graffitihunt 1 ("Spaarnwoude"): http://bartvanbroekhoven.com/en-US/running/145-graffitihunt-1
Graffitihunt 2 ("A positive image and distinctive position is created over time by providing desirable products or services and communicating consistently and effectively. While a logo is just one component of that image, it is the one that identifies the others, operating like a flag."): http://bartvanbroekhoven.com/en-US/running/146-graffitihunt-2
Graffitihunt 3 (" [ Dutch ] Gulden note, printed in Haarlem."): http://bartvanbroekhoven.com/en-US/running/148-graffitihunt-bonus
Graffitihunt 4 ("Name graffiti initially had a territorial function. Gang members marked out their turf and the local kids wrote for their friends or for their enemies. [...] As available space on walls and trains filled up, it was necessary to develop a style to make a name stand out from the rest. Kids began to practice variations on their names and to develop identifying logos which could be read at glance"): http://bartvanbroekhoven.com/en-US/running/149-graffitihunt-4
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¹ www.allcityblog.fr., 'Amsterdam: GVB': http://www.allcityblog.fr/32115-amsterdam-god-vicious-babies/
