SAR_sarsential™_toolbox_5/14

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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

Reflections

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

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

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

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

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

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

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

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

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

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

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

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

SAR_act_2.2.3

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 Above: after SAR 30K BL. SAR [ act 2.2.3 ] : Freedom [ Crossworm ]  Click on image to proceed.

"I put the cash back in the music, and move it to you."

Crossworm

Hear more: https://www.youtube.com/watch?v=maHlFPT5zTU

And: https://www.indiegogo.com/projects/parasite-avenue-limited-edition

And: https://www.youtube.com/watch?v=Mbws40MwKBM

And: http://www.youtube.com/watch?v=i-WDxpqmBGs

And: http://www.soundclick.com/bands/default.cfm?bandID=307719&content=music

And: https://www.facebook.com/CrosswormMusic

And: http://www.youtube.com/watch?v=3hHlKrmr06Y

And: http://www.mediafire.com/download/ib1s7ea8bybi2xj/Crossworm+-+2008+-+Mouth+Full+of+Dirt.zip

SAR_sarsential™_19_walk

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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