Late this summer (at "Winters-gate") the first barefoot run between Zandvoort and IJmuiden will be held, the 'AB Loop'  ("loop" is Dutch for "run"). A run with built in invisible, unexpected obstacles. Requiering a strong basic level of 'fitness'. A small group of 8 people will follow an internship during the preceding week guided by several experienced instructors, focussing on both physical and mental aspects of training for the benefit of wellbeing. The run -- open to participants from all walks of life -- spans the relatively short distance of 12.2 Kms. The aim will be to accomplish the run as part of a team effort, laying the foundation for training without injuries, with a hell of a lot of fun and for the benefit of radiating a joyful life. To be undertaken barefoot and without the use of fancy devices, with Love, Trust and in Friendship™. End of massage. Information: please refer to contact-form.

Assigned project URL (on-line Summer 2017): https://abloop.nl

See also: SAR

Above: final arrangements for corporate film shoot, with Irma.

Above: still from the shoot at the 8th floor of an office building in Amsterdam. The Black Magic Pocket Camera is a nice tool for off the cuff location shooting. T2.8 at 200ASA. Keylight, backlight, no added fill; with some available office ceiling and environment light.

Above: empty office cubicles from Amsterdam 8th floor POV, Friday night. Associations came up with that long movie -- an anthropological study -- about New York mobsters operating under the legal flag of Las Vegas' organized gambling, "[A]t night, you couldn't see the desert that surrounds Las Vegas… But it's in the desert where lots of  the town's problems are solved. [...] Got a lot of holes in the desert, and a lot of problems are buried in those holes. Except you gotta do it  right. I mean, you gotta have the  hole already dug before you show up with a package in the trunk. Otherwise you're talkin' about a half-hour or forty-five minutes of diggin'. And who knows who's gonna be comin' along in that time? Before you know it, you gotta dig a few more holes. You could be there all fuckin' night..."

From Nicholas Pileggi's and Martin Scorsese's screenplay of 'Casino': http://www.dailyscript.com/scripts/casino.html 

See also: Sarsential 22: play [ show time ]: http://bartvanbroekhoven.com/en-US/running/160-sar-sarsential-23

Thanks to Bastiaan Houtkooper for excellent support and equipment: http://bastiaanhoutkooper.com/blog

Above: warship painting, "PW 809", Haarlem today. Sarsential 22: play [ show time ]

View tag in close-up: http://bartvanbroekhoven.com/en-US/running/161-supplement-to-sarsential-22

"Fritz: "O my brothers, who braved 100.000 perils to reach the west, choose not to deny experience of the unpeopled world. Think of the seed of your creation. You were not born to live as brutes, but to follow virtue and knowledge" […] Know it?
Paul: Sure, it's very famous. Dante.
Fritz: Oui
Paul: "Night when saw all the stars. We were filled with gladness, which soon turned to tears until sea closed upon us."

Film rush[es] of Fritz's 'The Odyssey' ends.
Lights turn up inside the screening room.

Paul: I'm Paul Javal. Mr. Prokosch told you…
Fritz: I'm perfectly aware.
Paul: It looks swell. I really like Cinemascope.
Fritz: It's not made for people. It's only good for snakes and funerals."

From: Jean Luc Godard's screenplay and film 'Le Mepris' (1963)

Above: 'You Can Yoga' for San Franciscan Jason Revere required an 'Early-Morning-Sunny-look'. Shot in Amsterdam and on IJmuiden-beach, during a cloudy week-end, partly at night with artificial Daylight lamps, P+S Adapter and Cooke S4 lenses.

You Can Yoga [DVD]: http://www.amazon.co.uk/You-Can-Yoga-DVD-Jason/dp/B000ZN71TA

See also: "[K]eep it simple, keep it natural […] Letting go of judgments, the art of programming with images and "letting it happen" are three of the basic skills involved in the Inner Game. [T]he fourth and most important inner skill [is] concentration.": http://bartvanbroekhoven.com/en-US/running/170-25fps-the-inner-game

"My stress levels were rising fast, and I wasn’t sure what to do. So I got out of my seat and began to do whatever pose came to my mind, focusing deeply on my breathing to calm myself down.": http://bartvanbroekhoven.com/en-US/running/123-sar-epilogue

Above: Haarlem, with Weapon of Haarlem engraved in streetfurniture. 

"THE SCHOLARSHIP OF LOGOS. A substantial literature exists on the impact of logo design on brand loyalty and the way affect transfers from the logo to the brand. 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. Further, the design elements contribute to the way people will feel about a logo. [The] reputation a corporation or brand enjoys—its “image” and “positioning” in communication jargon—is more than a matter of visual impression. A positive image and distinctive position is created over time by providing desirable products or services and communicating consistently and effectively. While a logo is just one component of that image, it is the one that identifies the others, operating like a flag. Logic tells us that a flag should invoke respect by virtue of the entity it represents, not by its coloration or pattern. Yet, despite logic, we are all swayed—irrationally, perhaps, but most assuredly—by appearances. In one study, in fact, respondents reacted differently 55 percent of the time when researchers com- pared their response to logos alone, with the way they responded to the company name alone without the logo. Logos function as a visual identifier organisations use to build brand loyalty by strengthening recall of positive associations. Empirical research strongly suggests if viewers like a logo, they transfer those positive feelings to the brand associated with it. Likewise, negative feelings about a logo can lead to an even more intense affect transferring to the brand. Perhaps the strongest circumstantial evidence for the strength of this relationship is that U.S. companies often spend as much as 20 times more on “permanent media” (signage and so forth) than on advertising. Nonprofits as well need to create brand loyalty and positive feelings toward their organisations. For a nonprofit group: When well designed, a logo is felt to have positive influence on fund raising, corporate sponsorship, merchandise sales, patron subscriptions, brand loyalty, good will, employee morale, and volunteer recruitment. . . . A consensus has been reached in the scholarly literature that the most effective logos work if viewers remember having seen them (termed “recognition”) and if the logo reminds viewers of the correct brand (termed “recall”). Since corporate leaders want audiences to remember their institutions, a logo functions as visual shorthand for companies, or it is not working. The research literature also concludes that successful logos tend to have several design elements in common. First is “naturalness,” meaning items from the physical world are incorporated. Second, they tend to be only moderately elaborate. A logo that is either too elaborate or not elaborate enough will not succeed. The final element is “harmony,” a function of symmetry and balance. Non abstract symbols (those which are obviously recognisable from the real world, even if highly stylised) appear in the most successful logos. In Western corporate logos, these items include such symbols as Prudential’s rock, Wendy’s little girl, or Jaguar’s cat. […] A group with limited resources needs the ability to elicit a reaction quickly when it lacks the ability to create multiple exposures to its logo. A group in such a situation has the option of turning to “false recognition,” a sense of familiarity when the audience has never before seen a logo. In the United States, companies with low budgets attempt this strategy when they need to have an impact based on initial views of their logo because they cannot afford to build audience response through elaborate promotional campaigns or repeated viewings. Companies in such a situation at- tempt to create a sense of familiarity in the audience from the very first viewings. This can be accomplished through use of certain design elements. False recognition would depend on design characteristics that would make logos less distinctive from other logos. That would mean less “naturalness, high harmony, multiple parallel lines, and ideally a proportion of a height 75-80% of width.” […] Notably, false recognition is different from brand confusion. False recognition, which is a calculated strategy, is the sense of familiarity that accrues to a logo after an elaborate branding campaign. The point is to elicit that sense even though the particular logo has never actually been looked at before. It can be intentionally evoked through the use of some very specific design strategies. None of those strategies are at play in the case of brand confusion. That is what happens when logos meant to be unique and compelling are simply so close to those of their competitors that audiences have difficulty distinguishing one from the other. They undermine the entire point of the campaigns built around the logos. Brand confusion is the mark of failed or failing marketing campaigns; false recognition may well be a central component of a marketing campaign."

Cori E. Dauber in 'VISUAL PROPAGANDA AND EXTREMISM IN THE ONLINE ENVIRONMENT', edited by Carol K. Winkler and Cori E. Dauber, page 142, 143, 144, first published in USA, Juli 2014 by Strategic Studies Institute and U.S. Army War College Press

"[ 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. […]": http://bartvanbroekhoven.com/en-US/running/136-sar-sarsential-toolbox-11

"Much of what we think about when we see a picture stems from our subjectivity and guides our interpretation.": http://bartvanbroekhoven.com/en-US/running/141-sar-sarsential-toolbox-15-14

"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!": http://bartvanbroekhoven.com/en-US/running/139-sar-sarsential-toolbox-14-14

Above: Glowing streetlantern through tilted plastic lens of Kinga 35mm projector. The way we perceive, think and act is an expression of our state of consciousness. Lower states of consciousness malfunction on fear, anger, pride (denial). Higher states of consciousness conceive unity, forgiveness and love. Daily training is an excellent tool to examine, redirect and reload one's state of mind.

How does perception work?

David Hawkins: "The mechanism of perception is like a movie theatre where the projector is consciousness itself. The forms on the film are the attractor energy patterns¹, and the moving pictures on the screen are the world that we perceive and call "reality". […] What appears as an important and exciting piece of information from the perspective of one level might be boring or even repulsive at another level.Truth is subjective, and that can be frightening. […] To transcend the limitations of the mind, it's necessary to dethrone it from its tyranny as sole arbiter of reality. The vain mind confers its imprint of authenticity on the movie of life it happens to be viewing; the mind's very nature is to convince us that its unique view of experience is the genuine article. […] The mind identifies with its content. […] The mind doesn't even experience the world, just sensory exports of it. Even brilliant thoughts and deepest feelings are only experience; ultimately, we have but one function -- to experience experience. The major limitation of consciousness is its innocence.²"

___________

¹ Attractor is the name given to an identifiable pattern that emerges from seemingly unmeaningful mass of data. There is a hidden coherence in all that appears incoherent, which was first demonstrated in nature by Edward Lorenz. [Now] quite famously known as "Lorenz's Butterfly". The flapping of a butterfly's wings in Tokyo can cause a tornado in Texas. In chaos theory, the butterfly effect is the sensitive dependence on initial conditions in which a small change in one state of a deterministic nonlinear system can result in large differences in a later state. See also: https://en.wikipedia.org/wiki/Edward_Norton_Lorenz

² 'Power vs Force', first published and distributed in the United Kingdom by Hay House Ltd.

Above: Haarlem, yesterday. Sarsential 23: train! [ practice ]

"One day, after a rehearsal that hadn’t pleased [ violinist Mischa ] Elman, [ he was ] leaving Carnegie Hall by the backstage entrance when [ he was ] approached by two tourists looking for the hall’s entrance. Seeing his violin case, they asked, “How do you get to Carnegie Hall?” Without looking up and continuing on his way, Elman simply replied, 'Practice.'"

'Who created the “How do you get to Carnegie Hall?” joke?' on the Carnegie Hall, Midtown Manhattan, New York City website: http://www.carnegiehall.org/History/History-FAQ/

"When you acquire a certain level of competence that is presumed to be satisfactory, practice typically stops. As soon as ‘good enough’ is achieved something subtle yet extremely powerful happens: habituation steps in. One of your habituation’s central attachments is comfort. Wherever you are comfortable, wherever ‘good enough’ is subjectively perceived, your habituation will invest vast amounts of resources to maintain this comfortable status quo. One way your ego achieves this is to stop practicing.[…] Suddenly, the practice that birthed the greater competence in your life stops and your conditioning steps in. As engagement ceases the conscious participation and inhabitation of your body, mind and life is replaced by your ego’s habituation. And as soon as you cease consciously metabolizing your experience within the direct immediacy of the present moment you are no longer preparing yourself, your ego is just repeating itself. […] The essential aliveness of […] Practice resides in the engagement of all of your major faculties in the immediacy of the moment and your present activity. […] Practice from this perspective has no end, only a beginning...followed by another beginning. This path requires a constant unwavering commitment to engage. While this may appear tiresome, […] this is the only path from which you will truly and fully understand rest, and the complete release of Surrender, the letting go of the ego’s compulsive struggle. Sadly, the alternative is the continued unconscious investment in your ego’s unwavering habituated struggle with the truth of what is and the deception that this process of grappling can eventually result in genuine happiness."

From: 'Why Practice? Adapted from an article by Ken Wilber', first published as Pdf by Mark Divine, Februari 2012, trough: http://www.unbeatablemind.com/

Details: http://bartvanbroekhoven.com/nl/training/165-supplement-to-sarsential-23

Above: Spaarnwoude trainstation today. 50 Mtrs. South from where we shot this on a Sunday-night in Februari 2008: http://irememberthefuture.com/ see also: Rutger Hauer: Buddha's Medicine

Above: detail 1

Above: detail 2

See picture: http://bartvanbroekhoven.com/en-US/162-sar-sarsential-23-train

Above: Haalem, Spaarwoude trainstation, last night. 10 [ Dutch ] Gulden note, printed in Haarlem. There is an American filmproduction -- 'Motorama' (1991) by director Barry Shils -- that uses "xeroxed versions" of the Dutch bills as currency for the fantasy country the story takes place in (quote from the director during QandA at the Rotterdam International Filmfestival: "We did some color xeroxing on the 1."). Reverse angle to the image above: http://bartvanbroekhoven.com/en-US/running/145-graffitihunt-1

'Motorama' (1991) from director Barry Shils, trailer: http://www.youtube.com/watch?v=whD9mudTmJ8