Above: FP SAR 30K-BL-training. Sar training: Peal it off, adjust the parts and reassemble.

Sarsential 15: authenticity [ unified identities on integral experience of growth: personal, as a family, group or team, and tribal, within a neighbourhood, company or society ]

Why train Strategic Alert Running? To support clearity and unity on all levels: shared vision (common, mutual understanding, reliability and trust at foundation), shared performance (looking out after teammates) and love and respect for people's uniqueness within the collective while expanding together.

"Representational pictures were the first true “medium” our ancestors created, some 30,000-40,000 years ago. Some of the early pictures were accurate depictions of the natural world. Others likely had a persuasive, even political, intent as they employed deliberate factual distortions. Understanding this human factor is crucial in understanding pictures. Any estimation of the meaning or effects of a picture must take into account the receptivity, attitudes, and beliefs of audiences, as well as those of producers or disseminators. [...] One popular myth is that pictures do not lie, and further that they have a fixed meaning. [T] he audience context confounds such a simplistic cause-and-effect scenario. [...] One man's atrocity photo may be another man's trophy snapshot. [...] People interpret what they see trough the prism of a media climate that discourse elites, such as journalists and political leaders, shape to serve their own interests. Humans, conditioned from infancy to favour seeing over our other senses, ascribe generally to the notion that "what we see is what we get". [...] The human mind has almost infinite capacities to ignore the truth when it wants to do so. [...] Information processing models within cognitive theory of mind in psychology suggest that what we see develops meaning in the context of what we have seen before and what we have stored in our long-term memory. Much of what we think about when we see a picture stems from our subjectivity and guides our interpretation. [H] umanization may not be as powerful as some think when it resides in the photo icon. Human beings have remarkable abilities to ignore the suffering of those whom they do not like. [...] To study the image, we must study the world from which the image originates and the world that the viewer encounters."

Natalia Mielczarek and David D. Perlmutter in 'VISUAL PROPAGANDA AND EXTREMISM IN THE ONLINE ENVIRONMENT', edited by Carol K. Winkler and Cori E. Dauber, chapter 9, page 215, 219, 220, 221, 228, 229, first published in USA, Juli 2014 by Strategic Studies Institute and U.S. Army War College Press

"The English peel off the unessentials of modernity very easily -- they 'go native' more readily than any Europeans except the Italians; and the more refined their upbringing the quicker the change comes about.": http://bartvanbroekhoven.com/en-US/running/134-sar-sarsential-toolbox-10-14ad

Above: Sarsential 16: 気 [ Ki; breath, will, vital-energy ] 

" Mr. and Mrs. Abagnale
this is not a question of your son's attendance.
I regret to inform you that, for the past week
Frank has been teaching Mrs. Glasser's French class. […]
Your son has been pretending to be a substitute teacher
lecturing the students, uh, giving out homework.
Mrs. Glasser has been ill and there was
some confusion with the real sub.
Your son held a teacher-parent conference yesterday
and was planning a class field trip
to a French bread factory in Trenton.
Do you see the problem we have?"

Principal Evans (actor Thomas Kopache) to Frank Abagnale's parents, in Steven Spielberg's 'Catch Me If You Can' (2002)

“I will not oppose the ways of the world.”

Miyamoto Musashi, quoted by Teruo Machida, in 'The last words of Miyamoto Musashi  ̶ An attempt to translate his “Dokkôdô”̶ ',  page 203, first published in Japan, Bulletin of Nippon Sport Science University, 2012. Available as Pdf

"If you practice diligently, from morning till night, […] your mind will spontaneously broaden. [A] pply the following rules in order to practice the way:

1. Think of that which is not evil.
2. Train in the way.
3. Take an interest in all the arts.
5. Know the way of all professions.
5. Know how to appreciate the advantages and disadvantages of each thing.
6. Learn to judge the quality of each thing.
7. Perceive and understand that which is not visible from outside.
8. Be attentive even to minimal things.
9. Do not perform useless acts. "

From: 'Miyamoto Musashi, His Life and Writings', Kenji Tokitsu, translated by Sherab Chodzin Kohn, page 149, first published in France, 2000

Be sure also to check with Coach Mark Divine's last blog (published yesterday): '10 principles that you can use to tap into the power and unique contribution that you — and only you — can bring to the world', when interested in taking training and thinking to the next level (and beyond), Mark Divine's training-programs are awesome and his website a source of valuable asset!

SealFit blog 'DARE TO BE SOMEONE SPECIAL: PART II'

Above: PGIA SAR BLMTT 13K. Sarsential 18: der Ortssinn, "[S]ich von jeder Gegend schnell eine richtige geometrische Vorstellung zu machen und als Folge davon sich in ihr jedesmal leicht zurechtzufinden. Offenbar ist dies ein Akt der Phantasie. Zwar geschieht das Auffassen dabei teils durch das körperliche Auge, teils durch den Verstand, der mit seinen aus Wissenschaft und Erfahrung geschöpften Einsichten das Fehlende ergänzt und aus den Bruchstücken des körperlichen Blicks ein Ganzes macht; aber daß dies Ganze nun lebhaft vor die Seele trete, ein Bild, eine innerlich gezeichnete Karte werde, daß dies Bild bleibend sei, die einzelnen Züge nicht immer wieder auseinanderfallen, das vermag nur die Geisteskraft zu bewirken, die wir Phantasie nennen." [Visualisation: being able to find one’s place exactly at any time]

"[T]he [runner] must commit the business he has in hand to a corresponding space which his eye cannot survey, which the keenest zeal cannot always explore, and with which, owing to the constant changes taking place, he can also seldom become properly acquainted. [H]e who by talent and practice overcomes it will have a great advantage on his side […]. This very peculiar difficulty must be overcome by a natural mental gift of a special kind which is known by the – too restricted – term of Orisinn sense of locality. It is the power of quickly forming a correct geometrical idea of any portion of country, and consequently of being able to find one’s place in it exactly at any time. This is plainly an act of the imagination. The perception no doubt is formed partly by means of the physical eye, partly by the mind, which fills up what is wanting with ideas derived from knowledge and experience, and out of the fragments visible to the physical eye forms a whole; but that this whole should present itself vividly to the reason, should become a picture, a mentally drawn map, that this picture should be fixed, that the details should never again separate themselves – all that can only be effected by the mental faculty which we call imagination. If some great poet or painter should feel hurt that we require from his goddess such an office; if he shrugs his shoulders at the notion that a sharp gamekeeper must necessarily excel in imagination, we readily grant that we only speak here of imagination in a limited sense, of its service in a really menial capacity. But, however slight this service, still it must be the work of that natural gift, for if that gift is wanting, it would be difficult to imagine things plainly in all the completeness of the visible. […]"

Carl von Clausewitz, 'On War', page 71, first published in Germany by Ferdinand Dümmler, Berlin, 1832

Sarsential 19: walk [ exit trough the giftshop ]

"The cliche about sculpture, that the sculptor finds the statue which is waiting in the stone, applies equally to [film-] editing; the editor finds the film which is waiting hidden in the material."

British film editor Tom Priestly quoted by Ralph Rosenblum and Robert Karen in 'When The Shooting Stops... The Cutting Begins', page 273,  first published in USA by Da Capo Press, New York, 1979 

"When we align with our purpose, passion long lost is once again ignited." 

Mark Divine in his recently pubished blog, accompanying his excellent keynote lecture at Colgate University on September 18th: http://sealfit.com/sealfit-blog/part-3-uncover-your-purpose-ignite-your-passion/

"[The] opening adage of Romance of the Three Kingdoms, China's classic novel of war and strategy, best captures the essential dynamism of Chinese geopolitics ["Here begins our tale: The empire, long divided, must unite; long united, must divide. Thus it has ever been"]. At its heart is the millennia-long struggle by China's would-be rulers to unite and govern the all-but-ungovernable geographic mass of China. It is a story of centrifugal forces and of insurmountable divisions rooted in geography and history -- but also, and perhaps more fundamentally, of centripetal forces toward eventual unity. [T]he Dalai Lama, Tibet's spiritual leader, may be nearing a deal that would enable him to return to his Tibetan homeland. If it happens, it would end the Dalai Lama's exile in Dharamsala, India -- an exile that began after the Tibetan uprising in 1959, nine years after the People's Republic of China annexed Tibet. More important, a settlement between Beijing and the Dalai Lama could be a major step in lessening the physical and psychological estrangement between the Chinese heartland and the Tibetan Plateau.[…] The very existence of the Tibetan issue bespeaks several overlapping themes of Chinese geopolitics. […] The Tibetan Plateau and its environs constitute roughly one-quarter of the Chinese landmass and are a major source of freshwater for China, the Indian subcontinent and mainland Southeast Asia. The high mountains of the Himalayas make a natural buffer for the Chinese heartland and shape the complex geopolitical relationship between China and India. […] The Dalai Lama has concentrated the Tibetan cause into himself and his image. It is the Dalai Lama who represents the Tibetan identity in foreign capitals and holds a fractious Tibetan movement together, holding sway over both indigenous Tibetans in the homeland and the old and new generations of Tibetan exiles. [T]he Dalai Lama's international prestige exposed the central power in Beijing to numerous international critics. […] The peaceful path promoted by the Dalai Lama is respected, but not guaranteed forever, by the younger and more radical elements of the Tibetan movement, which have only temporarily renounced the use of violence to achieve their political goals. […] Over the years, the Dalai Lama repeatedly has expressed a strong desire to return to the Tibetan homeland, seeing it as an end goal in his longstanding efforts to gain Tibetan autonomy. […] The report of the Dalai Lama's possible return to Tibet comes as Beijing has resumed talks with representatives of the spiritual leader. This round of negotiations comes after nine rounds of failed talks over the past decade and four years after the last attempt. Nonetheless, the mood appears at least somewhat optimistic on both sides. In recent weeks, the Dalai Lama has offered conciliatory comments about Xi and intimated that he could be open to returning to Tibet, a longstanding desire of the 79-year-old spiritual leader. For its part, Beijing has released some Tibetan political prisoners and reportedly allowed the Dalai Lama's image and words to be used in certain Tibetan regions after years of prohibition. […] This dynamism is not limited to China. The Scottish referendum and waves of secession movements -- from Spain's Catalonia to Turkey and Iraq's ethnic Kurds -- are working in different directions. More than half a century after World War II triggered a wave of post-colonial nationalism that changed the map of the world, buried nationalism and ethnic identity movements of various forms are challenging the modern idea of the inviolable unity of the nation-state."

Zhixing Zhang in 'Centripetal and Centrifugal Forces at Work in the Nation-State' on the Stratfor website, published yesterday: http://www.stratfor.com/weekly/centripetal-and-centrifugal-forces-work-nation-state#axzz3EA2yWnta

Above: PGIA SAR 30K BLT. SAR [ Sarsential 1 ] : empty canvas [ route, terrain ].

"Barefeet keep me running. Shoes keep shoes running." Anonymous

"Peace is easily maintained;
Trouble is easily overcome before it starts.
The brittle is easily shattered;
The small is easily scattered.

Deal with it before it happens.
Set things in order before there is confusion."

Lao Tze

Above: PGIA SAR BLMTT. Sarsential 10: 50.853452°N 0.574787°E [ anywhere ]

"I don't like to repeat. I think the beauty of this sport is that every day is different -- you have different views and different summits. The same mountain, it can change every day with snow, with rain and with different conditions."

Kilian Jornet, interviewed by Amit Katwala, for 'Sport-magazine.co.uk, Issue 366, August 8 2014', found in London Bus 215

"The English peel off the unessentials of modernity very easily -- they 'go native' more readily than any Europeans except the Italians; and the more refined their upbringing the quicker the change comes about. There is no disgrace in it. On the contrary, in my opinion it shows a creditable regard for the real things in life at the expense of the artificial."

P.H. Fawcett as quoted on page 214 by Adam Ballinger in 'The Quiet Soldier', first published in Great Britain by Chapman Publishers Ltd in 1992

Above: PGIA 30K SAR BLMTT. Sarsential 11: sashimono [ brand-tag, trademark, identity ].

" [ Plate ] 52. Mount Tobisu dawn moon -- Toda Hanbei Shigeyuki [ Sakai Tadatsugu ]. [ A ] personal emblem […] a pennant, called a sashimono. This was fastened to [the] back as an identifying feature and served as rallying point in the confusion of battle. […] The print illustrates the Battle of Mount Tobisu near Nagashino in Mikawa province […] On the tenth day of the fifth lunar month of 1575, the Tadeka army attacked Nagashio castle. The rod of the castle, an ally of Nobunaga's, held off the attack. Hard pressed, he sent an urgent request for reinforcements to Nobunaga and Ieyasu, who were camped nearby. One of Ieyasu's retainers, Sakai Tadatsugu, suggested a plan. To maintain secrecy, Nobunaga publicly dismissed the plan, but privately authorised Sakai Tadatsugu to proceed. Marching trough the night in heavy rain, Tadatsugu led 4500 men along a difficult path to the top of Mount Tobisu, close to the castle. As dawn broke they charged down the mountainside and, with the advantage of surpise, routed the besieged Tadeka forces. Here the rainclouds have parted to reveal a dawn moon in the lightening sky."

John Stevenson in ' [wooblock printmaker] Yoshitoshi's One hundred aspects of the moon', first published in 2001 in The Netherlands by Hotei Publishing, Leiden

See also Akira Kurosawa's 'Kagemusha': http://www.criterion.com/films/948-kagemusha

Banners and standards: http://forums.samurai-archives.com/viewtopic.php?t=1638

Brand-tag: http://bartvanbroekhoven.com/en-US/running/119-sar-act-3-1

Plate 52 from Tsukioka Yoshitoshi's 'One hundred aspects of the moon': http://museums.fivecolleges.edu/detail.php?museum=&t=objects&type=all&f=&s=skull&record=21

John Stevenson's book mentioned above: http://www.brill.com/yoshitoshis-one-hundred-aspects-moon 

Above: PGIA SAR training. Sarsential 12: Pit-Stop-Run™ (PSR) [ short, efficient training whilst on the road, supporting the blood flow and happiness of tendons, muscles and bladder ]

"We're in a car gotta get off the road, pronto!"

From 'Pulp Fiction, a Quentin Tarantino screenplay', last draft, scene 72, page 119. First published May 1993. In 1994 re-issued by Miramax books and Hyperion, New York.

"Hollywood has learned by trail and error to respect our 90-to-120-minute ultradian rhythm. If movies are too long, the audience will get restive and bored. The acute master of mood, Alfred Hitchcock, once wrote: "The length of a film should be directly related to the endurance of the human bladder." […] In baseball or football, we see the same ultradian need reflected in the seventh-inning stretch or halftime break, when fans get up and move around. […] That's what feeling good together means: being in synchrony with each other."

Ernest Lawrence Rossi on page 171 in 'The 20-Minute Break', first published in 1991 by Jeremy P. Tarcher, Inc., Los Angeles

"One of the movies of which I'm most proud is Peter Bogdanovich's 'Paper Moon'. We wanted to evoke the classic b&w Hollywood tradition pioneered by cinematographers like Arthur Miller, John Alton and Gregg Toland. 'Citizen Kane' was our biggest influence; I had seen it for the first time in Budapest in 1948 and it had made an indelible impression. Orson Welles and Peter were very close friends, and I got to meet my 'god' while we were preparing our film. I'd been testing b&w film with various filters but still hadn't found the right look. Orson said, "Use red filters, my boy." And I did, because although the filters reduced the film speed and meant I had to use big arc-lights to achieve the deep-focus look Peter wanted, the red filters created incredibly beautiful, dramatic skies and gave us exactly the expressionistic look we were after."

László Kovács about shooting Peter Bogdanovich's black-and-white movie 'Paper Moon', from interview 'The Storytelling of László Kovács, Cinematographer' by Jason Whyte, as quoted on http://www.cinematographers.nl/PaginasDoPh/kovacs.htm

See also: http://bartvanbroekhoven.com/en-US/running/134-sar-sarsential-toolbox-10-14

Above: PGIA 22K SAR BLMTT. Sarsential 13: mission [ get your stuff together, unite ]

"Zoals alle geniale dingen bleek de geheime succesformule uiteindelijk heel erg simpel te zijn. Net als E=MC². [...] De geheime succesformule ziet er als volgt uit: H + Pr = P5. Dat is de hele formule. Dat is al honderd jaar het geheim van Hollywood. [...] H staat voor Hoofdpersoon, Pr staat voor Probleem en P5 staat voor Plan 5. [...] De Hoofdpersoon kan pas zijn Probleem oplossen met zijn Vijfde Plan. [...] Het Probleem van de Hoofdpersoon is de tegengestelde Kracht, die hij pas met zijn Vijfde Plan kan oplossen."

("Like all great things, the secret formula for success turned out to be, like E = MC², very simple [...] The secret success formula looks like this: P + Pr = P5. That's the whole formula. That is for hundred years the secret of Hollywood. [...] P stands for Protagonist, Pr stands for Problem and P5 stands for Plan 5. [...] The main character can only solve his problem with his Fifth Plan. [... ] The Protagonist's main Problem is to solve the opposing Force situation [ antagonist ], for which he needs his Fifth Plan.")

From Dutch book 'Het Geheim van Hollywood, de gouden succesformule voor schrijvers, acteurs, regisseurs en alle andere filmliefhebbers', by Dutch producer, director and author Paul Ruven, with Marian Batavier, page 11 - 13, first published in The Netherlands by Theatrebookshop, Amsterdam, 2007 (1)

"The invocation of psychopathy to validate the good-versus-evil narrative and all that comes along with it […] is misleading. [P] ower in a complex society arises from story: from the system of agreements and narratives that scaffold our world. Our current story facilitates the rise of psychopathy and empowers the psychopath. [I] t is story, and not force, that ultimately empowers those in power, it is on the level of story, and not force, that we must act in order to take away their power and change the system. That is why advocating force as the primary instrument of change is counterproductive -- it reinforces the very same Story of Separation that is at the root of our condition to begin with. One facet of it is the story of the good people finally rising up to topple the bad people."

Charles Eisenstein, on page 183 of 'The More Beautiful World Our Hearts Know is Possible',published by North Atlantic Books, Berkeley, 2013

Charles Eisenstein's website: http://charleseisenstein.net/

Paul Ruven website: http://paulruven.nl/ 

______________

(1)  (It figures that) all screenplay teaching books, seminars and the likes are full of wit, completely interesting, yet incredibly useless [ i.e.: being too loud, noisy, vulgair, dishonest, cynical, greedy, dangerous, unpleasant, corporate-approved, loveless ] for storytellers who do not repeat the same thing over and over again. Useful guidelines could come from working writers, such as from writer/director Louis Malle: [ what is story? ] [ answer: ] An attempted quest for unity of the characters: "The central story [ of Au Revoir Les Enfants ] is the arrival of this new boy and how he and Julien become friends." [ what is at the core of story? ]  [answer: ] What is at the core of everything -- which breaks it all up. [ What is an effective structure? ] [ answer: ] Structure is how reality affects story: "When I examined what the structure  [ of Au Revoir Les Enfants ]  should be, I thought it was important, little by little, to see the war breaking in." From: 'Malle on Malle', edited by Philip French, first published in 1993 by Faber and Faber Limited, London. Other sources might include  Jean-Claude Carriere: ‘Does what I’m writing have any appeal, any value, any interest for the audience?': http://www.webofstories.com/play/jc.carriere/69;jsessionid=76FC291F95B079E22FFFC4553E103E3B, Quentin Tarantino "... on Writing a Script" http://www.youtube.com/watch?v=I5NI7kN7P3o, Robert McKee, screenplay-book-author and writing-class-teacher: "All screenwriting books are bullshit. All. Watch movies. Read screenplays. Let them be your guide. [...] The so-called screenwriting guru is really the so-called screenwriting con man. Don’t listen to them, if you don't know their movies. […] If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky's screenplay for Network.", Six Second Screenwriting Advice and Why All Screenwriting Books are a Con:  http://www.indiewire.com/article/six-second-screenwriting-advice-and-why-all-screenwriting-books-are-a-con  

A new story comes into existence trough a miraculous unity of people. Structure more often than not seems to be present, but not in words (more like a 'backlight', surrounding and shining trough the words). Maybe as an idea, something to trust upon, an instinct. It works counter-intuitive and destructive to apply a structure from a book. Creation is finding and using its miraculous working-power-driving-force while creating the story -- over and over again, from scratch, with a beginners mind. Eventually it is not the preconceived knowledge and application of structure, but the doing-it, that leads to the living and creation of new stories: "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." (from: The Finger and the Eye, A conversation between Steve McQueen and Marlene Dumas, 2006).

See also: http://bartvanbroekhoven.com/en-US/running/123-sar-epilogue

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

Above: PGIA SAR 30K BLT. SAR [ -sential 2 ] : Train and trust your Immune System (TTIS).

Above: PGIA 30K SAR BLT. Sarsential 3 : awesome-ice-power for tendon care after training. When summer gets hot, dries up the ground and warms-up sea-water, tendons need extra care to support injury prevention. This is part of post-training standard procedure.¹ Ice-cubes can be as large as 500cc frozen water from a Quark bucket. They are seperated from direct skin-contact. Elastic stockings could be found useful: one over the leg, one over that one -- to be filled up with ice. Pictured above: 4 buckets attached, to either side.

More: refer to Search option in lower right corner website, to find more on -- for example ice.

¹ Strategic use of available resources (such as cold water in ponts and at the beach, around winter-season) and Alertness, such as for luring injuries and taking care of them trough developing better technique, is what SAR aims at -- before, during and after Running. Training on steep ground, for example, such as found at many beaches near the branding, is to be found serious un-runanble ground, it is begging for tendon injury. To raise up resistance for the feet by choosing an underlayer of shells (at the beach) or concrete cycle-paths (in the dunes) with small stones on them, on the other hand, seem to stimulate proper technique. It activates the senses in the soles of the feet, spicing up the healing effect of running .

Above: PGIA 30K SAR BLT. Sarsential 4: preparation, discipline and habituation unite in mixed-terrain-training (MTT).

"Do not follow where the path may lead. Go instead where there is no path and leave the trail."

Ralph Waldo Emerson, as quoted in Daniel Thouw's 'Alter Ego: A Worldwide Documentary About Graffiti Writing': http://www.youtube.com/watch?v=SLA8BQtffNw

Official 'Alter Ego' website: http://www.alterego-themovie.com/

Director/artist Daniel Thouw's website: http://www.danielthouw.com/html/cv.html

"There is a general view that Vladimir Putin governs the Russian Federation as a dictator, that he has defeated and intimidated his opponents and that he has marshaled a powerful threat to surrounding countries. This is a reasonable view, but perhaps it should be re-evaluated in the context of recent events. [... ] Putin's strategy was to allow the government in Kiev to unravel of its own accord and to split the United States from Europe by exploiting Russia's strong trade and energy ties with the Continent. And this is where the crash of the Malaysia Airlines jet is crucial. If it turns out -- as appears to be the case -- that Russia supplied air defence systems to the separatists and sent crews to man them (since operating those systems requires extensive training), Russia could be held responsible for shooting down the plane. And this means Moscow's ability to divide the Europeans from the Americans would decline. Putin then moves from being an effective, sophisticated ruler who ruthlessly uses power to being a dangerous incompetent supporting a hopeless insurrection with wholly inappropriate weapons. And the West, no matter how opposed some countries might be to a split with Putin, must come to grips with how effective and rational he really is. [ … ] Putin's popularity at home soared after the successful Sochi Winter Olympics and after the Western media made him look like the aggressor in Crimea. He has, after all, built his reputation on being tough and aggressive. But as the reality of the situation in Ukraine becomes more obvious, the great victory will be seen as covering a retreat coming at a time of serious economic problems. For many leaders, the events in Ukraine would not represent such an immense challenge. But Putin has built his image on a tough foreign policy, and the economy meant his ratings were not very high before Ukraine."

George Friedman in 'Can Putin Survive?', today on the Stratfor-website: http://www.stratfor.com/weekly/can-putin-survive?utm_source=freelist-f&utm_medium=email&utm_campaign=20140721&utm_term=Gweekly&utm_content=readmore#axzz38CojVABQ

"A frequent question that comes up during [ Survival, Evasion, Resistance and Escape ] training [ … ] is, "What is the most important key to surviving in the Amazon Jungle?" [ … ] The individual who is properly prepared enjoys a sense of control or composure. [ … ] the self-confidence which results yields an optimism that sustains the individual trough disappointments and difficult times.. This process produces resilience. [ … ] Given that individuals do not respond with equal effectiveness in captivity survival, what accounts for [ … ] varying degrees of resilience? A seemingly logical conclusion is that resilience is inborn [ … ]. While there is evidence that some equally [ unprepared ] individuals do adapt to novel situations more quietly and effectively than others, sound scientific research shows resilience is not the sole province of heredity. [ It ] can be acquired and learned. [ … ] Studies have identified three elements which are necessary to produce resilience. None of the three alone is sufficient to produce the desired result, but when properly combined, they yield optimum resilience. The first element is talent. Talent is the basic raw material of intelligence and creativity which allows the survivor to conceive of and apply coping strategies. An average amount of talent is sufficient. The second element is [ … ] motivation [ to survive ]. The third element is optimism. [ Without ] optimism [ … ] motivation and talent alone will not result in the confidence and persistence necessary for resilient survival behaviour."

Former SERE psychologist Dr. John Bruce Jessen in the paper 'Resilience: Can the Will to Survive Be Learned?'

See also: http://bartvanbroekhoven.com/en-US/running/92-sar-along-the-way-3-14

Above: PGIA¹ SAR² 30 KMS BLMTT³. Sarsential 5: Awesung [ Samsung ] photocamera for finish shot. 

"skipping off any fear, revving up and jumping out with maximum power. you glow for a short time and then retreat into the safety of darkness." - Smash 137, Basel, Switzerland, as quoted and pictured in Ruedione's book 'Blackflashes - graffity tales'.

Sneakpeak to 'Blackflashes', with soundtrack: http://www.ruedione.com/

Smash 137: http://www.smash137.com/

¹ Photo Generated Injury Analysis

² Strategic Alert Running

³ Best Level Mixed Terrain Training

Above: PGIA¹ SAR² 30 KMS BLMTT³. Sarsential 6: website-based-workflow [ i.e.: resourceful environment] for PGIA-application. 

From first SAR-injury-control-narrative, posted on this website, earlier this year:

(1, March 13 2014 16:20) Ice after training gives this great relief. It helps prevent injuries; a natural inflammation inhibitor. While the ice melts over time, the flipside of the coin is that it gives wet feet and leaves footprints all over the place: http://bartvanbroekhoven.com/en-US/running/67-30k-post-sar-footprint?showall=&start=1

(2, March 15 2014 17:21) Today the 'A' in SAR stands for 'Antertainment'. Like a Hollywood block-buster, that deals with a problem (zombies, monsters, terrorists from within the own troops, corruption, greed, fear) an injury is best treated as just that, Entertainment, a break from routine, FUN to deal with -- to be experienced as a major challenge. Training continues, while we take care of our injury (treating the effect, healing the injury and attacking the overload causing it, through improvement of the technique, eliminating the cause). My experience of today followed these steps: http://bartvanbroekhoven.com/en-US/running/68-footprint-post-sar-2

(3, Tuesday, March 18 2014 17:14) Todays training dedicated to Bastiaan Houtkooper and his web-hosting company 'Zebra hosting'. In a (telecom-)world dominated by moguls and morons, Bastiaan founded, owns and operates a state of the art web-hosting company -- his costumer support and brilliance in trouble shooting is beyond comparison, rooted in deep empathy and years of experience as high-end cinematographer for commercials mainly: http://bartvanbroekhoven.com/en-US/running/69-footprint-sar-3

(4, March 21 2014 17:56) There is an excellent study to be found on the SSI Website (Strategic Studies Institute). From the booklet 'Forging an American Grand Strategy: Securing a Path Through a Complex Future Selected Presentations From a Symposium at the National Defense University' (pag.80): "... Our greatest problems are not political; they are biological. Specifically [...] that science and anthropology converge to prove that the human brain has not evolved to keep up with human progress. Complexity has outpaced the brain’s ability to process it. This causes it to hit [...] a cognitive threshold, defined as the difference between the slow speed at which the human brain can evolve and the rapid rate at which complexity grows": http://bartvanbroekhoven.com/en-US/running/70-sar-4-footprint

(5, March 25 2014 17:16) ZCZCSA251655 EHAM AMSTERDAM/SCHIPHOL NLD -3 m.: http://bartvanbroekhoven.com/en-US/running/71-sar-5

(6, Saturday, March 29 2014 18:18) Footprint after 32K SAR-training: http://bartvanbroekhoven.com/en-US/running/72-sar-6

(7, Tuesday, April 08 2014 15:05) Footprint SAR_7: rain and sun and wind lend supportive-atmosphere to today's-training: http://bartvanbroekhoven.com/en-US/running/73-sar-7-clear-pond-plunge

(8, Sunday, April 13 2014 13:41) http://bartvanbroekhoven.com/en-US/running/74-sar-8

(9, Wednesday, April 16 2014 16:04) SAR_9 footprint [ … ] SAR training is Kick-Ass-training: taking-over from previous 'management' (that led to overload and injury -- usually fear driven management) and re-establish control ("Get in, get it over with and get out! "). Change requires collaboration on all levels. Trough the creation of unity the runner leads/inspires/guides/informs/balances the transformation at hand. It requires growth from egotistical overload-behaviour towards- and transformation into- an Alert-balanced runner, who emphatically and sensibly controls his behaviour. SAR training is focussed upon improvement of technique and efficiency. Trough Strategic use of available resources, including time, terrain, weather, technical-support -- and injury treatment, food and rest: http://bartvanbroekhoven.com/en-US/running/75-sar-9-injury-control-interim-management

(10, Saturday, April 19 2014 14:20) When we have dealt with the acuteness of the injury (cause and treatment of the injury and attention to technique) we arrive at a cross-point where we move on to start building up pressure and focus on further progression and loyal running-fun. SAR training on the threshold of returning to best level: http://bartvanbroekhoven.com/en-US/running/77-sar-10-threshold

(11, Tuesday, April 22 2014 16:42) [B]est level is achieved when intensity and frequency are balanced. Balanced frequency and intensity lead to progression and growth and fun: http://bartvanbroekhoven.com/en-US/running/78-sar-11-dirt-dive

(12, Thursday, April 24 2014 14:42) "All good things come in fourteen's" - Anonymous: http://bartvanbroekhoven.com/en-US/running/79-sar-12-14-terminology

(13, Saturday, April 26 2014 13:50) "Discipline is the spark that ignites the fire of a habit." - Mark Divine: http://bartvanbroekhoven.com/en-US/running/80-sar-13-14

(14, Tuesday, April 29 2014 15:40) Footprint after completion 32K SAR14 [ … ] Change requires collaboration on all levels. Trough the creation of unity the runner leads/inspires/guides/informs/balances the transformation at hand. It requires growth from egotistical overload-behaviour towards- and transformation into- an Alert-balanced runner, who emphatically and sensibly controls his behaviour: http://bartvanbroekhoven.com/en-US/running/81-sar-14-14-epilogue-secured

¹ Photo Generated Injury Analysis

² Strategic Alert Running

³ Best Level Mixed Terrain Training

Above: PGIA SAR-rest-and-recovery. Sarsential 7: training off, sauna on [ skipp training, rest and recover ]. 

More on elevating core body temperature, sauna-benefits and more: Dr. Rhonda Patrick interviewed on Barbell Shrugged's podcast 'Biomedical Research, Nutrition, and Supplements w/ Dr. Rhonda Patrick - EPISODE 119' http://www.youtube.com/watch?v=BWa4aJE8YpU&autoplay=1

More (and more): http://www.foundmyfitness.com/

More about regularly scheduled off days and active recovery days : http://sealfit.com/blog/marks-blog-a-big-problem/

Above: P [hoto finish] GIA¹ 30K SAR² BLMTT³. Sarsential 8: deep-breath.

" [D]eepening comfort is nature's signal that many families of messenger molecules (such as endorphins) are flowing trough [ the ] mind-body to facilitate healing and well-being." -- Ernest Lawrence Rossi on page 54 in 'The 20-Minute Break', first published in 1991 by Jeremy P. Tarcher, Inc., Los Angeles

¹ PGIA: Photo Generated Injury Analysis

² SAR: Strategic Alert Running

³ BLMTT: Best Level Mixed Terrain Training

Above: PGIA SAR 30K BLMTT. Sarsential 9: "Don't mention the war." [ adapt, improvise and improve efficiency ] (click on image for excellent clip on BBCWorldwide's Youtube-channel; with John Cleese, talking about 'Fawlty Towers' episode with the Germans and the hotel on fire).

"I dislike humour I can't believe in. No matter how daft something becomes, it's got to be credible at the level it's offered and real to the characters involved in it." John Cleese on Fawlty Towers in a Radio Times interview, quoted in 'Fawlty Towers, fully booked', first published in 2001 by BBC Worldwide Ltd., London.

And now for something completely different: 

"An optimist might counter that nuclear weapons will never be used, even in a crisis situation, because states have such a strong incentive, namely national survival, to ensure that nuclear weapons are not used. But, this objection ignores the fact that leaders operate under competing pressures. Leaders in nuclear-armed states also have very strong incentives to convince their adversaries that nuclear weapons could very well be used. Historically, we have seen that leaders take actions in crises, such as placing nuclear weapons on high alert and delegating nuclear launch authority to low level commanders, to increase purposely the risk of accidental nuclear war in an attempt to force less resolved opponents to back down."

Matthew Kroenig in 'MOVING BEYOND PRETENSE: NUCLEAR POWER AND NONPROLIFERATION', CHAPTER 3 'THE HISTORY OF PROLIFERATION OPTIMISM: DOES IT HAVE A FUTURE?', first published June 2014 by Strategic Studies Institute and U.S. Army War College Press

"[... ] Modern man ascended from the apes when the brain suddenly sprouted a neocortex and frontal lobe, commonly called the forebrain. This relatively recent addition to the brain system of humans caused a dramatic shift in our development over other mammals. In essence it allowed for us to take control of time and to develop intricate, clever ways to plan and organize. We were soon formulating elaborate plans for the future allowing us to dominate other beings – including humans – and to manipulate nature. We also developed an obsession for dwelling on the past, which helped us learn from mistakes. These handy skills were absent in our mammalian-brained ancestors. [...] It appears to me that our infatuation with the frontal lobe caused us to throw the baby out with the bathwater by denying the power and value of the midbrain. Research has shown that that forebrain utilizes words and symbols to process and communicate information. However the language of the midbrain (or mammalian brain) is imagery and sensations. Thus modern humans have over-developed the verbal language based forebrain and allowed the midbrain to languish. To be fair, the imagery and sensations are still there, but they are largely drowned out by the noise of the frontal lobe, and [i]gnored. What we get is fantasy and uncontrolled emotions. The result is that we have ignored and denied our visual acuity and sensory awareness – and the complimentary skills of remote viewing, healing, manifestation, pre-cognition and intuition – relegating them to the category of “special” and to the fringes of weird science. [...] Personally I doubt that we humans were gifted the powerful frontal lobe so that we could ignore or ditch that pesky, emotional and visual mammalian brain. We were meant to operate as whole, complete beings, using each aspect of our brain-mind system to it’s fullest."

Mark Divine in 'Sealfit Blog: Let's Get Visual', published August 2nd, 2014: http://sealfit.com/sealfit-blog/sealfit-blog-lets-get-visual/?utm_source=SEALFIT&utm_medium=email&utm_campaign=blog

Above: SAR¹ 30KMS BLMT² midpoint [ x ] training. Sarsential x: the Kambei-Point of View [ midpoint in the narrative; redirecting negativism towards reasonability and decisiveness, from an empathic POV ].

"The waterwheel makes its regular noise throughout the scene, emphasising the pauses." -- Akira Kurosawa in 'Seven Samurai' shooting script.

Midpoint: the Samurai squad-leader Kambei-character -- performed by actor Takashi Shimura in 'Seven Samurai' (1954) -- moment. The moment where the character shuts-down negativety ("I know how you feel, but you have to. We can't defend these outlying farms."), previsualize's victory (battleplan) and starts building it! Eye's off the self now, eye's on the team-effort!

In the midpoint scene in the film, the Samurai-squad-members share their strategy for dealing with the bandits and protect the village and the inhabitants. The villagers respond reluctant, negative, scared, hysteric. It seems negativism is hysteria in the making! At midpoint x, it is removed and replaced by a positive attitude, radiating decisiveness. 

From the original shooting-script, page 137:

Close-up ofGISAKU in the wind mill with a women behind him looking worried. They both look towards something off-screen. The woman puts a hand on the old man's shoulder with a cry of distress.
Medium close-up ofMOSUKE withGOROBEI just in shot beside him.
He looks atGOROBEI fearfully. Other farmers are gathered behind him, open-mouthed with amazement.

MOSUKE: You mean I have to leave my place?
(Close-up ofGISAKU, with his son and his son's wife, just behind him, frowning worriedly. The son stands up but his wife pulls him down, looking away nervously.
Medium shot ofGISAKU sitting in the middle of the room withKAMBEI , his son and his wife behind him andGOROBEI andMANZO beside him.KAMBEI is holding a small child in his arms. Tilt up with him as he stands up, still holding the child. He paces backwards and forewords in the foreground, back to camera. The waterwheel makes its regular noise throughout the scene, emphasising the pauses.)

KAMBEI: I know how you feel, but you have to. We can't defend these outlying farms.
(KAMBEI continues to pace about. Suddenly the wife bursts into tears.)

From: Seven Samurai and Other Screenplays by Akira Kurosawa, collection first published in 1992 by Faber and Faber Limited, London.

More on "x": http://bartvanbroekhoven.com/en-US/running/123-sar-epilogue

More on Akira Kurosawa: http://bartvanbroekhoven.com/en-US/running/97-sar-7-along-the-way

¹ Strategic Alert Running

² Best Level Mixed Terrain