Connection

Kennemer dunes 360° between Zandvoort and IJmuiden, today. Look and see [ process and show ]

Min/max temperature: 7°C/14°C; humidity: 98%; precipitation: 1 mm; sea level pressure: 1008 hPa; wind: WNW 43.0 km/h; visibility: 10.0 kilometres; Clouds: few 670 m., overcast: 975 m.

" [ The ] concept of stress may indicate any state of reduced well-being varying from being in a bit of a hurry to a complete nervous breakdown. In a more strict sense, it refers to a state of exhaustion resulting from chronically having to deal with problems and anxieties, which in themselves qualify as inconveniences rather than threats of life. [ The ] notion of stress invariably refers to a less than desirable condition. When originally conceived, however, it was meant to denote a neurological and visceral reaction known as the "fight-or-flight" phenomenon. This reaction results in a readiness to deal with imminent danger by either fighting or fleeing. Since this constitutes an elementary survival mechanism, such a stress reaction should be considered both normal and healthy. In everyday life it is only if a state of heightened alertness and preparedness for action is maintained over a long period of time, without any breaks for recovery, that the effects of stress are potentially harmful. In normal life […] damaging effects occur if there is no plausible opponent to fight or fly from: e.g. if the threat originates from a bureaucratic machinery, or if an insurmountable work-load is self inflicted. Since there is no clear way to deal with these problems actively and effectively, the individual may resort to emotional coping strategies. […] these strategies may give rise to damaging symptoms: sleeplessness, overconsumption of tobacco and alcohol, irritability and tension. […] Fight and flight are behavioural categories. They are mutually exclusive. Although obviously related to fight and flight, courage and fear are not mutually exclusive. [ People ] may be frightened and courageous at the same time. Most people […] agree that there is no courage without fear. Fearlessness may strike the observer as an exceptional characteristic, even as something odd; it does not qualify, however, as true courage. The notion of courage presupposes the presence of fear. It is fear conquered in the interest of some worthy cause.

[…] Fear in itself is […] complex. [ It is best ] be understood as consisting of three components: a subjective reaction (the awareness of fear), a physiological reaction (like sweating or trembling) and an avoidance reaction (flight, taking shelter). The three reactions may or may not occur together. One may feel frightened without any bodily symptoms showing, and the reverse may be the case as well […] they are loosely coupled. One consequence […] of fear is that it is not always possible to tell whether a person is anxious. This may even be unclear to the person concerned. [ How a person ] is likely to respond to a serious threat […] cannot realistically be predicted. There is not a lot of reliable evidence for personality characteristics related to either courage or cowardice. If [ people ] are trapped between the options of fulfilling [ their ] duties [...] or relinquishing them [...] because neither is a viable option, [ people ] may suffer a breakdown. This, too, is an outcome which is hardly accounted for by characteristics like emotional stability. It is likely to be determined by situational factors […] Being subjected to [ a threat ] without the possibility of retaliation or adequate shelter is a typical situation where fight nor flight are plausible options, and a breakdown may be all that is left. The strains of the situation are overwhelming to a degree that antecedent emotional stability is hardly decisive. […] If no action or response whatsoever is instrumental in determining the outcome of a crisis, a collapse of the individual as an autonomous, self-directing system may occur. […] There are a number of factors which appear to have a buffering effect against interpreting a [ threatening ] situation as out of personal control. [...] A sense of confidence may enable a [ person ] to maintain his or her share of morale and endure […] tensions. […] Notable factors contributing to this effect are adequate training, trust in fellow [ people ] and excellent equipment. Since people derive the meaning of any situation largely from the way others seem to react to it, contagion is a major cause of a [ person's ] interpretation of a [ threatening ] situation as challenging, frightening or hopeless. The emphasis on contagion and social support in shaping a particular situation […] is tantamount to stressing the role of the [ leader ] in setting an example and managing attributions of meaning by subordinates."

J. Extra in 'NL Arms; Dealing with Danger and Stress', page 150, 151,152, 153 first published in 1998 by RMA, Breda, The Netherlands

"Be not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action; with this special observance, that you overstep not the modesty of nature: for anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her one feature, scorn her own image, and the very age and body of the time his form and pressure. Now, this overdone or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of which one must, in your allowance, overweigh a whole theatre of others."

From: William Shakespeare's 'Hamlet, Prince of Danmark', Act III, scene II, written between 1599 and 1602, page 961 of 'The Complete Works of William Shakespeare', first published in 1958 by Spring Books, London

" [ If ] you imagine the story as a house with many floors, some dark, some light -- some small rooms and some larger rooms with doors and windows and ceilings and suchlike -- and then acknowledge that fact that no [ two ] people in all our wonderful world are capable of furnishing, decorating, repairing or renovating the same house in the same way -- but they all may possibly want at least to be a 'Happy House' or a 'Cosy House', or even a 'miserable house'. The beauty of it is that presentation is the way we communicate, we present ourselves in certain clothes in certain colours to convey a certain signal -- all presentations of any kind are transmitted and received through codes of language, alphabets, numerals etc. -- but how all this is assembled before presentation is precisely where the individual mind and vision meets an object and translates that same object out to the rest of the world -- transformed into a massage, a statement incorporating Personality -- 'this is storytelling'. If this becomes a sequence of objects, then it becomes a narrative structure. Angle of vision -- the movement -- the poetry, no one being is […] the same. This is the human alchemy behind any frame of any story…"

Anthony Dod Mantle in 'Framing, A Symposium on Cinematography', page 148, edited by Andreas Fisher-Hansen, Igor Koršič and Tina Sørensen (unpublished manuscript)

Reflections

Kennemer Dunes 360° today. Spring [ birth of a nation ]

Min/max temperature: 4°C/23°C; humidity: 76%; precipitation: 0 mm; sea level pressure: 1031 hPa; wind: WSW 5.0 km/h; visibility: 14.0 kilometres; Clouds: few 2700 m.

"Our preoccupation with numbers, preferably growth figures (polls, ratings, stock market figures, budgets, salaries, penis length et cetera) hides the underlying fear to actually having to think. Before people start a discussion within a so called consultation council […] at first figures need to be produced and made visible; once read, every discussion is unnecessary. The figures are supposed to tell the truth about a certain supposed transparent reality automatically. Equal fear for the process of thinking appears in the well-meant suggestions to people 'in trouble': 'You just do not have to think about it too much, it serves no purpose, it makes matters only worse.' The next logical step is towards thought-restricting drugs of which the French designation -- 'des stupefiant' ('stupefying') -- speaks so much more clear than the semi-soft name calling 'tranquillizers' […] What we experience today is the degeneration of the importance of language on a broad social scale. When thinking can be understood as an externalised act, then the inability to think must lead to the occasion to act in itself. In this area infantilization takes place, which does have an effect on the aspects that characterises being human, namely the delusion of providing meaning. In this case: the effects of the inadequacy of providing meaning. The consequence then becomes agitation and acting [ that ] out. According to the classic formula, taking action will elicit a reaction."

Paul Verhaeghe in 'Het einde van de psychotherapie', page 222, 223, 224, 225, first published in 2010 by De Bezige Bij, The Netherlands (unauthorized translation from Dutch)

"Movies are written in sand: applauded today, forgotten tomorrow. […] I foresee no possibility of venturing into themes showing a closer view of reality for a long time to come. The public itself will not have it. What it wants is a gun and a girl. [on sound movies: ] It is my arrogant belief that we have lost beauty."

D.W. Griffith (January 22, 1875 – July 23, 1948)

"In a Hollywood movie, after the movie is over, there's nothing more. There is no relationship between the screen and the spectator. There's just a duration. If you don't like it, you go to sleep, the way I do. [ The ] movie is not on screen. The movie stems from moving. The movie is a mover. The move from the reality to the screen and back to the reality. And the screens are nothing, just shades. It's like a swimmer doing a crawl until he arrives at the end of the swimming pool and then turning and going back again. This is the screen. […] When you arrive, [...] the moviemaker [ is the swimmer ] ; and when you start, it's the spectator. […] I don't think you should feel about a movie. You should feel about a woman, but not about a movie. You can't kiss a movie. […] Let's have a look and talk about it, but certainly not feel about it. That's what the Church says, feel about God. [ I ] can't [ work for television ]. You get more mystified than ever. Unless you think you can address 20 million people and you have something important to say and think you can go through all this mystification to get to the people, it's very difficult. [ I ] make very small movies to show to fewer people more often. More movies to fewer people but much more often. So [ I ] can survive […] it's very natural. I couldn't do anything else. You have to know how to survive. You have to be optimistic, because the world situation is so bad. Marx said that. The very pessimistic situation makes me feel optimistic. I'm an optimist because things are so bad they must get better because they can't be worse than they are. It's the same today."

Jean-Luc Godard in 'Jean-Luc Godard: The Rolling Stone Interview A look behind the lens at the famed French new wave director of 'Breathless' and 'Band of Outsiders' by Jonathan Cott, first published in June 1969 by Rolling Sone, USA

"Trough the reading of the script and the impressions given [...] by the director, slowly one starts to realize what [ needs to be done ]. In [the ] hot Los-Angeles burning sun -- we had to make the [ 'Barfly' ] interior acceptable, though being able to look outside at the same time to see what happens there. You need to take that into account, it [ can be ] difficult to stack those small rooms up with light. They need to remain out of frame. And the interior scenes required a certain ambience. You need to take that into account. I had ordered these huge rigging-towers -- with reflection screens -- with 12Kw's that bounced inside. Always reflected, never direct. […] Would I have said in these multi-billion dollar film: 'guys here we should not use any [ additional ] light, it needs to be dark' -- then they would go with that. The hardest part is to get the team to go with that, they are all crusted heads. So when we arrive at a street-corner, daytime, to shoot a car driving by -- only that -- all kinds of equipment is brought in. The script car and electricity trucks, and they all stand in the way, they take a lot of space. I've experienced that! [ I ] have always said to students -- when I had them in a workshop -- : '… the case is, when looking at the rushes and everybody applauds you because they look so great, when you think for yourself that it is not so good, than it is not so good. Because other people tend to believe pretty quickly that things look great. They see a sunset and it looks nicely orange, but you did not have to do anything to accomplish that, it always works. But there are also more complicated situations. With Friedkin, that was good working. He knew how to listen. We then had a complicated shot, with a car. It arrives at a terrain getting into a hangar. Shot with a crane, from top to ground. I then said: '… but why cover it in different shots? It can just drive in and we pan with the camera and the car can drive trough. […] Theoretically there are three possibilities. Dusk is short. Shoot a shot at dusk with the exact perfect light. One before that in touch over and one afterwards, which will just be doing fine. In twenty minutes we have three takes to shoot.' He understood that, and then started to organise very strictly the whole situation. We then immediately shot the first take and you get it all within schedule. But you need people who know how to react."

Robby Müller in 'Interview Robby Muller (2007)' first published in 2008 on the Netherlands Society of Cinematographers website (authorized translation from Dutch)

" [ Unless ] you know how [ a style ] is done, you say, 'What the hell is the idea? Where is it?' You keep looking for some kind of justification. Our brains are designed to see signs and put them together into a story. [ The ] brain always tries to read stories into things, and as every edit is a story in its own right, the brain can't accept it and begins to link them all together."

Lars von Trier in 'Framing, A Symposium on Cinematography; On Random Framing -- Automavision', page 142, 143, edited by Andreas Fisher-Hansen, Igor Koršič and Tina Sørensen (unpublished manuscript)

Action

Kennemer Dunes 360° today. Preparation [ depth, focus, trust, unity ]

Min/max temperature: 4°C/15°C; humidity: 72%; precipitation: 0 mm; sea level pressure: 1018 hPa; wind from ESE 4.9 km/h; visibility: 24.0 kilometres; Clouds: Overcast 4500m.

"[ LM: ] Do you think the formula for a good picture is preparation?
[ Hall: ] Yes, I think it definitely is. All the ones that look unprepared were usually prepared the hell out. It's very difficult to get an "unprepared" picture that works by going unprepared."

Conrad Hall as quoted by Leonard Maltin in 'The Art of the Cinematographer, A Survey and Interviews with Five Masters', page 126, first published in 1971 by Dover Publications, Inc. New York 

"A […] sculptor looks into a quarry for lump of marble. He selects a particular specimen because what he wants to sculp is […] 'already inside'. It only has to be freed. In [ Taoism ], the metaphor of the 'Uncarved Block' is used […] to denote the True or Original nature. In this state, nothing has yet been done to manipulate, change or improve the block; 'it' is already present. This means that whatever is done to it will only result in a blurring of the original, leading us away from what is also called 'The Source'. […] Charlotte Selver […] writes: "The sensations from within are like stars, which only appear when the artificial lights are turned off. When there is quiet enough, they can be very precise." [ It ] is not to be identified with physical stillness. Selver's 'artificial lights' don't necessarily connote external stimuli. [The ] readiness manifests itself in clinging neither to silence nor turmoil; it can be present, so to speak, in the midst of battle. It is a prerequisite for timing, and thus, in The Way of the Samurai, for winning. […] According to Selver […] as soon as more readiness, more openness for what is happening develops, we find that the first thing in which we can recognise this increased openness is our breathing. […] "When the heart is touched, when the inner is touched, when we really allow something to -- as we say so nicely -- touch us, then something in ourselves opens, becomes awake and interested, and simply makes us breathe. We don't make ourselves do it. It makes itself felt." A person's liveness is directly proportional to the degree to which the person is awake, alert and connected to the environment."

Michael M. Tophoff in 'Chan Buddhism: Implications of Awareness and Mindfulness-training for Managerial Functioning', page 27, 28 203, 204, 205, 209, first published in 2003 by Michael M. Tophoff, The Netherlands

"Michelangelo once remarked that one test of good sculpture was roll it downhill, and whatever broke off would be nonessential."

Nathaniel Kaz in 'The Art of the Artist', page 172, first published in 1951 by Crown Publishers, Inc., New York

"For whether we are content with our illusions or frightened by them, we are equally possesed by them, and hence the non-attachment of Buddhism and Taoism means not running away from life but running with it, for freedom comes trough complete acceptance of reality. Those who wish to keep their illusions do not move at all; those who fear them run backwards into greater illusions, while those who conquer them, 'Walk on' […] 'Walk on!' for we can only understand life by keeping pace with it, by a complete affirmation and acceptance of its magic-like transformations and unending changes. By this acceptance the Zen disciple is filled with […] wonder, for everything is perpetually becoming new. The beginning of the universe is now, for all things are at this moment being created, and the end of the universes is now, for all things are at this moment passing away."

Alan W. Watts as quoted by Yasuo Kuniyoshi in 'The Art of the Artist', page 97, 98, first published in 1951 by Crown Publishers, Inc., New York

"Conscience does make cowards of us all"

Kennemer dunes 360° today. Question [ how much do we really need? ]

Min/max temperature: 4°C/16°C; humidity: 91%; precipitation: 0 mm; sea level pressure: 1031 hPa; wind: Variable 5.0 km/h; visibility: 10.0 kilometres

"INT. GENERAL HEADQUARTERS OF THE GASTAPO IN BERLIN - DAY

Officer: Heil Hitler.
Joseph Tura: Heil Hitler!
Officer: Colonel, we have Wilhelm Coetze here. If you'd like to look into his record. I hope he'll talk.
Joseph Tura: He'd better. Send him in.
Officer: Yes, sir. Wilhelm Coetze!

A boy, approximately aged ten, enters.

Wilhelm, the boy: Heil Hitler!
Josesph Tura: Heil Hitler! And now, Wilhelm, I understand you want a little tank to play with.
Wilhelm: Yes, my father promised me one if I got a good report card.
Josesp Tura: But our Fuhrer heard about your report card... and decided to give you just what you want.
Wilhelm: Heil Hitler!
Joseph Tura: Heil Hitler! You are going to tell your father who gave it to you, aren't you, Wilhelm?
Wilhelm: Sure, our Fuhrer.
Joseph Tura: And then maybe he will like the Fuhrer a little better, won't he?
Wilhelm: Sure.
Josesph Tura: He doesn't like him now, does he?
Wilhelm: No, he doesn't.
Joseph Tura: And sometimes he even says funny things about him, doesn't he?
Wilhelm: Well, he said they named a brandy after Napoleon... and they made a herring out of Bismarck. And Hitler's going to end up as...
Officer: A piece of cheese.
Wilhelm: Yes.
Joseph Tura: Yeah. How did you know?
Officer: Well, it's a natural thought.
Joseph Tura: A natural thought?!
Officer: I hope you don't misunderstand. I always, that is... You see, Colonel, I hope you don't doubt my...
All: Heil Hitler!

Door opens, Adolf Hitler enters.

Officer: The Fuhrer!
Officer: Heil Hitler!
Joseph Tura: Heil Hitler!
Adolf Hitler: Heil myself.

The Director, Mr. Dobosh suddenly interrupts. Standing up agitated from behind his reading table in the theatre.

Director Mr. Dobosh: That's not in the script!
Mr. Bronksi (Hitler): But, Mr. Dobosh, please.
Director Mr. Dobosh: That's not in the script, Mr. Bronski.
Mr. Bronski: But it'll get a laugh.
Director Mr. Dobosh: I don't want a laugh here. How many times have I told you not to add any lines? I want...
Mr. Greensberg: You want my opinion, Mr. Dobosh?
Director Mr. Dobosh: No Mr. Greenberg, I don't want your opinion.
Mr. Greensberg: All right, then let me give you my reaction. A laugh is nothing to be sneezed at.
Director Dobosh: Mr. Greenberg, I hired you as an actor, not as a writer. Understand? No. What does the script say?
Mr. Bronksi: I make an entrance.
Director Dobosh: And what do you say?
Mr. Bronksi: Nothing.
Director Dobosh: Then say nothing."

From: 'To Be or Not To Be', Directed by Ernst Lubitsch, Written by Melchior Lengyel, Edwin Justus Mayer and Ernst Lubitsch (uncredited), starring Carole Lombard, Jack Benny, Robert Stack, Felix Bressart, Sig Ruman, first released on February 19, 1942 in Los Angeles, trough United Artists

"Enter HAMLET.
Ham. To be, or no to be, -- that is the question: --
Whether 'tis nobler in the mind to suffer
 the slings and arrows of outrageous fortune, or to take arms against a sea of troubles, and by opposing end them? -- To die, -- to sleep, -- No more; and by a sleep to say we end the heart-ache and the thousand natural shocks.
The flesh is heir to, -- 'tis a consummation devoutly to be wish'd. To die, -- to sleep;-- To sleep! perchance to dream: ay, there's the rub;
 For in that sleep of death what dreams my come, when we have shuffled off this mortal coil, must give us pause; there's the respect that makes calamity of so long life; time for who would bear the whips and scorns of the oppressor's wrong, the proud man's contumely, the pangs of disposed love, the law's delay, the insolence of office, and the spurns that patient merit of the unworthy takes, when he himself might his quietus make with a bare bodkin? who would fardels bear, to grunt and sweat under a weary life, but that the dread of something after death,-- the undiscover'd country, from whose bourn no traveller returns,--puzzles the will, and makes us rather bear those ills we have that fly to others that we know not of? 
Thus conscience does make cowards of us all; and thus the native hue of resolution is sicklied o'er with the pale cast of thought; and enterprises of great pith and moment, with this regard, their currents turn awry, and lose the name of action.-- Soft you now! The fair Ophelia.--Nymph, in thy orisons be all my sins remembered."

From: William Shakespeare's 'Hamlet, Prince of Danmark', Act III, scene 1, written between 1599 and 1602, page 960 of 'The Complete Works of William Shakespeare', first published in 1958 by Spring Books, London

"We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep."

William Shakespeare as quoted in the preface of 'The Complete Works of William Shakespeare', page VI, first published in 1958 by Spring Books, London

"The major limitation of consciousness is its innocence."

David Hawkins in 'Power vs Force', page 251, first published in 1995 by Hay House, United Kingdom

Circumstances

Kennemer Dunes today. Environment [ foundation ]

Min/max temperature: 3°C/11°C; humidity: 88%; precipitation: 0 mm; sea level pressure: 1023 hPa; wind ENE 15.9 km/h; visibility: 10.0 kilometres; Clouds: Scattered Clouds 518 m.

"An interviewer with a wooden leg said to Frank Zappa, 'with your long hair, from where I am sitting you would be a woman.' Frank Zappa replied, 'From where I am sitting you could be a table.'"

Paul Arden in 'Whatever you think think the opposite', page 124, 125, published by Penguin, 2006, UK

"Carol Gilligan in her book […] 'In a Different Voice', pointed out that both man and women tend to develop trough 3 or 4 major levels or stages of moral development. [ Preconventional ], conventional, postconventional and integrated. [ She ] found that stage -1 is a morality centred entirely on "me" [ egocentric ] Stage-2 moral development is centred on "us" [ ethnocentric, traditional, or conformist ]. With stage-3 […] identity expands […] again [ to ] "all of us" [ worldcentric ]. [ S ] tage-4 moral development [ is called ] integrated. Calligan strongly agreed that women, like men, develop trough these 3 or 4 major […] stages of growth. [ She ] said that women progress trough those stages using a different type of logic […] Male logic […] tends to be based on terms of autonomy, justice and rights; whereas women's logic […] tends to be based on terms of relationship, care, and responsibility. Men tend toward agency: women tend toward communion. Men follow rules; women follow connections. Men look; women touch. Men tend toward individualism, women toward relationship. One of [ her ] favourite stories: A little boy and girl are playing. The boy says, "Let's play pirates!" The girl says, "Let's play like we live next door to each other." Boy: "No, I want to play pirates!" "Okay, you play the pirate who lives next door."

Ken Wilber in 'The Integral Vision', page 46, 47, first published by Shambhala, 2007, Boston & London