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.":

Intermission: RLOVEUTION

Above: the new Story of the People [ Story of Interbeing ]. Click on image to proceed.

"Once upon a time a great tribe of people lived in a world far away from ours. Whether far away in space, or in time, or even outside of time, we do not know. They lived in a state of enchantment and joy that few of us dare to believe could exist, except in those exceptional peak experiences when we glimpse the true potential of life and mind."

Charles Eisenstein, on page 268 - 269 of 'The More Beautiful World Our Hearts Know is Possible', published by North Atlantic Books, Berkeley, 2013

"A story is a sequence of related events that includes a [...] resolution. […] A narrative is a system of interrelated stories [ , ] a socio-cultural entity, and it serves a cognitive process of understanding and attention. Narratives […] operate as systems, both macro- and micro-, comprised of components such as stories, story forms, tropes, archetypes, and so forth. [ The ] vast array of cultural expression that circulates in a community or region is what we call the narrative landscape. [ A ] landscape includes specific features, such as trees, hills, and rivers, and these features all interact in an ecological system. [ L ] andscapes and their systems have characteristics [...] that influence how humans understand a locale and how they interact with it. The same is true with narrative landscapes: stories, narrative systems, and other forms of communication that enter into the narrative landscape interact with those already present. Literary theorist Mikhail Bakhtin describes this interactive quality when he explains: ["] Each utterance [story, narrative, communication, etc.] refutes, affirms, supplements, and relies upon the others, presupposes them to be known, and somehow takes them into account. ["] [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 [ . ]"

Scott W. Ruston and Jeffrey R. Halverson in 'VISUAL PROPAGANDA AND EXTREMISM IN THE ONLINE ENVIRONMENT', edited by Carol K. Winkler and Cori E. Dauber, chapter 5, page 112, 113, 114, 122, 124, first published in USA, Juli 2014 by Strategic Studies Institute and U.S. Army War College Press

"The best victory, says Sun Tzu, is the one in which the losers don't realize they have lost. In the old story, we overcome evil and leave our enemies in the dust, wailing and gnashing their teeth. No more. Everyone is coming along for his ride. In the new story, we understand that everyone left behind impoverishes the destination. We see each human being as the possessor of a unique lens upon the world. We wonder, "What truth has this man been able to see from his perspective, that is invisible from mine?" We know that there must be something; that indeed, each of us occupies a different place in the matrix of all being precisely in order to contribute a unique experience to our evolving totality."

Charles Eisenstein, on page 200 - 201 of 'The More Beautiful World Our Hearts Know is Possible', published by North Atlantic Books, Berkeley, 2013

"The screenwriting and directing workshops could take any shape […]. It was not about theory, […] everyone [was] presenting some ideas, […] we would all work together. […] I would bring students to the market [ telling them: ] first, you walk around the market, watching and listening but picking different angles, so that, for instance, instead of being the clients, you go to the side, and see as though you had put a camera behind the back of a vendor, see the rotting fruit he throws under the stall, the dogs going by, people misbehaving and so on. See what you usually don’t see. Then, note down everything that could happen in a film. That will take about three-quarters of an hour. Then we go back to school and there, the third step, you talk about what you have seen and heard. [...] Which is still different from the other two steps. And that often gave amazing results. Something that reality gives; how to see it, how to take it down, how to transmit it. That is an exciting exercise anyone can do anywhere, like I used to do with Tati and Pierre Etaix, sitting at a café. You simply look at people going by and you wonder what could happen, what could happen in a film, adapting it. It is not often and quite artificial, when reality can be inserted into a film."

Jean-Claude Carriere on 'Web of Stories';jsessionid=76FC291F95B079E22FFFC4553E103E3B

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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:

Paul Ruven website: 


(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?':;jsessionid=76FC291F95B079E22FFFC4553E103E3B, Quentin Tarantino "... on Writing a Script", 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:  

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:


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:
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:

(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:

(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

(6) Sarsentials™ are experienced and recorded from scratch, trough Strategic Alert Running Best-Level-Mixed-Terrain-TrainingSAR 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 ]:

Sarsential 2 : train and trust your Immune System (TTIS):

Sarsential 3 : awesome-ice-power for tendon care after training:

Sarsential 4: preparation, discipline and habituation unite in mixed-terrain-training (MTT):

Sarsential 5: awesung [ Samsung ] photocamera for finish shot:

Sarsential 6: website-based-workflow [ i.e.: resourceful environment] for PGIA™ application:

Sarsential 7: training off, sauna on [ skipp training, rest and recover ]:

Sarsential x: the Kambei-Point of View [ midpoint in the narrative; redirecting negativism towards reasonability and decisiveness, from an empathic POV ]:

Sarsential 8: deep-breath:

Sarsential 9: "Don't mention the war." [ adapt, improvise and improve efficiency ]:

Sarsential 10: 50.853452°N 0.574787°E [ anywhere ]:

Sarsential 11: sashimono [ brand-tag, trademark, identity ]:

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

Sarsential 13: mission [ get your stuff together, unite ]:

Sarsential 14: edge [ lead from the front ]:

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 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

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