SAR_sarsential™_toolbox_14/14

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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

SAR_11_along_the_way

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Above: FP 30K Sunday-morning SAR BL training. Training-thought: ignorance lies at the foundation of bad-running-behaviour-and-injury, " [ the ] ignorance of believing in a truly existent self." (quoted from 'The Buddhist Way of Healing' by Dolkar Khangkar in 'Buddha's Medicine', first published in 2008 on YouTube, link below). It leads to the worshipping of (stiff- and greedy-man-made) lifeless monuments ( "'Course I'm respectable. I'm old. Politicians, ugly buildings, and whores all get respectable if they last long enough..." ) -- which -- like the (quoted above) Noah Cross character in Roman Polanski's/Robert Towne's 'Chinatown' (1974) -- point the way to resistance-to-change. We need training to be healthy, in balance. We need to stay flexible -- to be able to keep on training (health and flexibility are two sides of the same coin); stiffness is a symptom of ignorance and at the roots of injury!

"Understanding is such a liquid path. Like walking on water. And words are drops.Their meaning changing like seasons. And yet in the circle they make while dancing i hear the truth. Self is not one of them." Rutger Hauer, commenting on his YouTube Channel (published 3 years ago, link below)

 "Dancing is especially known, by its circulation of the blood, to keep off the disease of old age." Ezra Pound and Ernest Fenollosa in 'The Classic Noh Theater of Japan', first published in the U.S.A. in 1917 (page 29)

"The only thing harder than getting a new idea into the [...] mind is to get an old one out." B.H. Liddell Hart as quoted in 'Changing Minds in the Army: why it is so difficult and what to do about it', first published in October 2013 (page 1)

"Individuals pay particular attention to information that supports their beliefs and either ignore or discount the value of evidence that contradicts their beliefs. [ When encountering information contrary to their own beliefs or opinions ] they face a condition known as cognitive dissonance, or the state of tension arising from holding two cognition's that are psychologically inconsistent. Researsers using images from MRI scans found that when subjects were confronted with dissonant information, they often used the reasoning areas of their brain not to analyse new data or information, but rather to develop a narrative that preserves their initial frames of reference. Once the narrative is created, the emotional areas of the brain happily light up. […] Individuals, when faced with dissonant information, use their reasoning skills to "twirl the cognitive kaleidoscope until they get the conclusions they want." The resulting release of neutrotransmitters gives strong reinforcement for justification of their existing  perspective. Conformation bias emerges as information is interpreted in a way to confirm old preconceptions and dismiss new contradictory evidence." Stephen J. Gerras, Leonard Wong in 'Changing Minds in the Army: why it is so difficult and what to do about it' (page 19, 'Conformation Bias')

"Oddly enough, the relationship between having smarts and having the propensity to change one's mind is counterintuitive. In his highly regarded book, The Righteous Mind, Jonathan Haidt asserts that intelligence quotient (IQ) is the biggest predictor of how well people argue, but only in terms of how well they support their own position. […] Smart people tend to excel at buttressing their own cases but often fail at exploring the issue fully to appreciate other perspectives and perhaps change their minds." Stephen J. Gerras, Leonard Wong in 'Changing Minds in the Army: why it is so difficult and what to do about it' (page 10, 'Nature and Nurture')

" [ Alex Simon: ] Brian De Palma made an interesting comment once about his group that hung out in the Malibu Colony during the ‘70s: him, Spielberg, Lucas, Coppola, Margot Kidder, that once the era of the blockbuster started after the mid-70s, and people began making astronomical amounts of money, as opposed to just making a comfortable living, that’s when the fractures started, in terms of their relationships with each other. [ 'Chinatown' screenwriter Robert Towne: ] That’s quite possibly true. I think the promise of making money split a lot of us up. [ AS ] Who’ve you remained friendly with over the years? [ RT ] You mean those of us who are still alive? (laughs) Well, I don’t see him much, but I’m friendly with Jack, very friendly with Warren (Beatty). [ AS ] Do you talk to Polanski at all? [ RT ] Oh yeah, we’re still very friendly. I forgot to mention him. I’ve managed to see him once a year or every couple years when I go to Europe." From: 'Robert Towne: The Hollywood Interview' by Alex Simon, first published Februari 2, 2014

'Robert Towne: The Hollywood Interview': http://thehollywoodinterview.blogspot.nl/2009/10/robert-towne-hollywood-interview.html

YouTube-Film-Factory-Shorts: http://www.youtube.com/watch?v=GVbqSkFgg1o

See also: http://en.wikipedia.org/wiki/Avidyā_(Buddhism)

US Army War College/Strategic Studies Institute publication: http://www.strategicstudiesinstitute.army.mil/pubs/display.cfm?pubID=1179

SAR_sarsential™_21_story

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Above: Sunrise on Lake Titicaca, December 1997 in our film 'La Ultima Trucha' (2002), shot on Fuji F-64 16mm color-negative-film, running 24Fps. Sarsential 21: logo off, story on [ be inspired ].  

"[Reporter on TV: ] Conflicting eyewitness reports concerning "little green men"....

[ Mr. Wing: ] You teach him to watch television? I warned you. With mogwai comes much responsibility. But you didn't listen. And you see what happens. You do with mogwai what your society...has done with all of nature's gifts. You do not understand. You are not ready. He has something to say to you. To hear, one has only to listen.

[ Mogwai: ] Bye, Billy.

[ Mr. Wing: ] Perhaps someday you may be ready. Until then, mogwai...will be waiting."

Actor Keye Luke as Grandfather (Mr. Wing) in director Joe Dante's 'Gremlins' (1984)

"You need to know, you have to know, how to communicate with others who don't speak your language. When the Spaniards came our forefathers spoke Aymara since they were babies. But they had to learn the Castellano, now they want to forget Aymara, it is a shame to speak Aymara. […] Tourists coming from outside say to us: 'Don't stop talking Aymara'. They ask about some old things, they want to know how we were, about the Inca's, the fights against the Spaniards, how they danced, how they dressed, how they were. […] Once we digged in the ruins and we found ashes and they asked how they made fire if there were no matches. We take a little stone from the sand and one lime, we put donkey manure, and scratch until a spark lights a straw and the fire is ready. Those people want to know all these things, what people eat, how they were dressed in the old times. We heard rice is not food, flour is not food, bread is not food. All what earth produces is food; bread is only to blow the belly. But quinua, wheat, potatoes, beans, lettuce all these things, that is food. Don't drink soft drinks, eat sardines, candies, chewing gums and all kind of canned food, plastic, or made by a chemist. It is true."

Fisherman Don Florencio in 'La Ultima Trucha' (2002), from our interview conducted and recorded in Bolivia, 1997, translated by Mily Ruiz, first published in Taipei, Taiwan as '鱒魚的尾聲', 2002

"You must summon the courage to question your stories and do the digging to reveal and tap into the unique source of what is guiding your life. Guess what? This is an extraordinary challenge. [S]uch work requires that we slow down and find a place of silence. Patience is also requisite in order to tune into the whispered frequency of this inner voice. As we do this we must be prepared with an open courage to admit that the current story, the narrative that you once bought into lock, stock and barrel, may no longer be serving you."

Mark Divine in 'SealFit blog part 4, Stoke Your Inner Vision', published today on SealFit website: http://sealfit.com/sealfit-blog/sealfit-blog-part-4-stoke-your-inner-vision/

“[R]emember, you will not be there alone. As you begin to awaken to your mission you will meet others of our tribe. You will recognize them by your common purpose, values, and intuitions, and by the similarity of the paths you have walked. As the condition of the planet Earth reaches crisis proportions, your paths will cross more and more. The time of loneliness, the time of thinking you might be crazy, will be over."

Charles Eisenstein, on page 270 of 'The More Beautiful World Our Hearts Know is Possible', published by North Atlantic Books, Berkeley, 2013

"Contrary to what one would naturally assume, people do not necessarily transfer their positive feelings about a brand to a logo. Rather, they transfer their positive (or negative) feelings about a logo to the way they feel about the brand...": http://bartvanbroekhoven.com/en-US/component/content/archive?year=2014&month=9

"[P] ower in a complex society arises from story: from the system of agreements and narratives that scaffold our world...": http://bartvanbroekhoven.com/en-US/running/138-sar-sarsential-toolbox-13-14

"[N] arrative is a vehicle for ideology [ , ] humans make sense of the world through a narrative logic [ . ] [ In ] the narrative arc that governs most narrative systems, a conflict initiates a desire and a series of actions and participants, [...] toward a resolution...": http://bartvanbroekhoven.com/en-US/running/140-rloveution

SAR_act_3.1

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Above: FP30K SAR BLT. SAR [ act 3.1 ] : product, valuable-asset with a brand-tag on it, in a distributable-form -- " [ a ] contribution to world cuisine" ( from: "A fish called Wanda" ). 

[ Alex Simon: ] What should a director look for when hiring a cinematographer, and vice-versa, what should a cinematographer look for before working with a director?

[ Vittorio Storaro: ] I can't answer the first question, but I can the second one. From the first moment I meet a director, I try to express myself. You say 'yes' or 'no,' based on your feeling that this story and this director are going in the same direction that you are going. If you feel that, that you are attracted to the story and the director's vision, then you should do it. You have to have some common ground. If you feel comfortable with all these elements, then they're the right person. Sometimes you meet wonderful, gifted people, but for some reason you don't feel comfortable and you pass, you say 'no thank you,' because they were not going in the same direction you were going at that time. There is always something inside you that will push you in the right direction that you will discover through writing, or music, or performance, that will help you discover who you are and what your life is about. This will help you grow up, and help you learn about yourself. In turn you can give this gift to somebody else: your children, your students, your audience. You share this spirit. And in doing that you feel that you are part of the human journey.

Vittorio Storaro [ ... ] THe Hollywood Interview: http://thehollywoodinterview.blogspot.nl/2008/02/vittorio-storaro-hollywood-interview.html

[ John Fauer: ] Vittorio Storaro, ASC, said that sometimes you just have to say no.

[ Gordon Willis: ] No is a very important word. Yes is not a good word all the time. It doesn’t get us more work. In fact, no gets us more work, because anything works while we’re shooting it. Nothing works in the screening room if it’s no good. What was said the day before is forgotten once everyone gets in the screening room. If we said no to something bad, and it turns out to be right in the screening room, the no said the day before is forgotten, but they’ll never forget about the yes if it’s no good.

Remembering Gordon Willis, ASC: http://www.fdtimes.com/2014/05/20/remembering-gordon-willis-asc/