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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 

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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

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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

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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

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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 of GISAKU 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 of MOSUKE with GOROBEI just in shot beside him.
He looks at GOROBEI fearfully. Other farmers are gathered behind him, open-mouthed with amazement.

MOSUKE: You mean I have to leave my place?
(Close-up of GISAKU, 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 of GISAKU sitting in the middle of the room with KAMBEI , his son and his wife behind him and GOROBEI and MANZO 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