There's No Ffiti Like Graffiti

Haarlem, Today: "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:

As part of Upcoming Film/Installation/Website "thing", this brass plate, excellently made especially for us by Dutch engraver Paul Hertog, was screwed in the brick wall. The poster was done with my two sons Jesse and Melle. The wooden mirror-frame comes from the awesome Vintage webshop from the Dutch recycling store Vindingrijk. The toy gun was found in a pile of garbage. Colors with spraypaint from Henx.

The Installation wil be accompanied by a wesbsite with a live video and audio stream and webshop. All hosted by -- as is this website -- Zebra Hosting in Amsterdam.

"If you practice diligently, from morning till night, […] your mind will spontaneously broaden.":

"The history of subway graffiti in New York is a brief one, and the phenomenon differs from all other kinds of graffiti, both past and present. In the 1960's, teenagers in New York began to write their names on neighbourhood walls, but instead of their given names, they chose nicknames, creating a public identity for the street":

"Watching something does not mean fixing your gaze on it, but being aware of it in a natural way.":


Today in the trainings-factory.

(On the picture: Serious face, to get the footprint picture and have lunch!)

Today was a ******* day: wet, muddy, foggy, with steady and interesting fresh air and wind, Distance 28,9 kilometres. Very quiet, also on the beach, maybe 10 living human-souls and two swans in a pond. Whatever the weather: embrace it and make fun!


Kennemer Dunes 360° today. Preparation [ depth, focus, trust, unity ]

Min/max temperature: 4°C/15°C; humidity: 72%; precipitation: 0 mm; sea level pressure: 1018 hPa; wind from ESE 4.9 km/h; visibility: 24.0 kilometres; Clouds: Overcast 4500m.

"[ LM: ] Do you think the formula for a good picture is preparation?
[ Hall: ] Yes, I think it definitely is. All the ones that look unprepared were usually prepared the hell out. It's very difficult to get an "unprepared" picture that works by going unprepared."

Conrad Hall as quoted by Leonard Maltin in 'The Art of the Cinematographer, A Survey and Interviews with Five Masters', page 126, first published in 1971 by Dover Publications, Inc. New York 

"A […] sculptor looks into a quarry for lump of marble. He selects a particular specimen because what he wants to sculp is […] 'already inside'. It only has to be freed. In [ Taoism ], the metaphor of the 'Uncarved Block' is used […] to denote the True or Original nature. In this state, nothing has yet been done to manipulate, change or improve the block; 'it' is already present. This means that whatever is done to it will only result in a blurring of the original, leading us away from what is also called 'The Source'. […] Charlotte Selver […] writes: "The sensations from within are like stars, which only appear when the artificial lights are turned off. When there is quiet enough, they can be very precise." [ It ] is not to be identified with physical stillness. Selver's 'artificial lights' don't necessarily connote external stimuli. [The ] readiness manifests itself in clinging neither to silence nor turmoil; it can be present, so to speak, in the midst of battle. It is a prerequisite for timing, and thus, in The Way of the Samurai, for winning. […] According to Selver […] as soon as more readiness, more openness for what is happening develops, we find that the first thing in which we can recognise this increased openness is our breathing. […] "When the heart is touched, when the inner is touched, when we really allow something to -- as we say so nicely -- touch us, then something in ourselves opens, becomes awake and interested, and simply makes us breathe. We don't make ourselves do it. It makes itself felt." A person's liveness is directly proportional to the degree to which the person is awake, alert and connected to the environment."

Michael M. Tophoff in 'Chan Buddhism: Implications of Awareness and Mindfulness-training for Managerial Functioning', page 27, 28 203, 204, 205, 209, first published in 2003 by Michael M. Tophoff, The Netherlands

"Michelangelo once remarked that one test of good sculpture was roll it downhill, and whatever broke off would be nonessential."

Nathaniel Kaz in 'The Art of the Artist', page 172, first published in 1951 by Crown Publishers, Inc., New York

"For whether we are content with our illusions or frightened by them, we are equally possesed by them, and hence the non-attachment of Buddhism and Taoism means not running away from life but running with it, for freedom comes trough complete acceptance of reality. Those who wish to keep their illusions do not move at all; those who fear them run backwards into greater illusions, while those who conquer them, 'Walk on' […] 'Walk on!' for we can only understand life by keeping pace with it, by a complete affirmation and acceptance of its magic-like transformations and unending changes. By this acceptance the Zen disciple is filled with […] wonder, for everything is perpetually becoming new. The beginning of the universe is now, for all things are at this moment being created, and the end of the universes is now, for all things are at this moment passing away."

Alan W. Watts as quoted by Yasuo Kuniyoshi in 'The Art of the Artist', page 97, 98, first published in 1951 by Crown Publishers, Inc., New York


Todays weather: clear, on the verge of rain, strong wind from south-west, beach during training in between tides, air felt comfortable (3-6 degrees)


Kennemer Dunes national park, today. Act first [ think later ]

Min/max temperature: -3°C/6°C; humidity: 66%; precipitation: 0 mm, sea level pressure: 1030 hPa; wind from SSW 15.9 km/h; visibility: 8.0  kilometres; snow depth: 5 mm

"The standard screen format used to be four by three -- the same as a TV screen. In opting for a bigger screen the industry had to go wide: with a higher one, people sitting in the back of the stalls would have had the top of the image chopped off by the overhanging balcony. Cinemascope (and its successors, like Panavision) used anamorphic lenses on the camera and projector to squeeze the wider image onto normal 35-mm film, and this gave a ratio of 2.35:1. […] A face in the centre of the screen would come out fat, and one on the edges thin, so close-ups had to be framed a bit off centre. […] Discussions went on for some years about what one should do with Cinemascope. Great for westerns […] but how do you frame [ a ] domestic drama? […] To make [ a ] room look wider [ the art director ] gave it two windows […] Then the director […] didn't like the windows and they were replaced by a single one. In those days there was always this peculiar struggle going on between directors and art directors about the wide format. Over time these conversations didn't happen any more. We simply got used to it. […] The way I see it, there's a lot more to being a cameraman than lighting the set […] On a film you have [ camera operators, ] carpenters, painters, plasterers, electricians, property men, stagehands, hairdressers, make-up people. The cameraman has something to do with with all these people because everything is seen trough the eye of the lens. If you find something not up to standard, you have to get the person who's responsible for it and have it put right. […] I often had to get tough with men who weren't pulling their weight. There used to be a lot of lazy people in the filmindustry. [ Later ] attitudes had changed […] more professional. Out in Jordan on Lawrence […] I happened to be having a drink with some newcomer. 'You've mellowed, Freddie,' he said. […] 'You used to be a bit of a bastard.' 'It's not me that's changed,' I told him. 'It's you blokes. If you were a lazy sod I had to turn into an old bastard. It was the only way to get things done.' But there are still occasions when a film needs a cameraman who's 'a bit of a bastard' -- someone prepared to push to get things done."

Freddie Young, 'Seventy Light Years, A Life in the Movies, an Autobiography as told to Peter Busby', page 67, 137, 138, first published in 1999 by Faber and Faber Limited, London

"[T]rust the process […] Intuition -- an element in using "self as an instrument" -- is very important […] but […] it is also necessary to understand the reason for success, as well as the derailing factors linked to any process. […] When it goes well, it's like magic. […] But [ those ] who do not understand the forces that make the "magic" happen [...] may be at a loss if the process begins to derail."

Manfred F.R. Kets de Vries in 'The Hedgehog Effect', page 33, 34. First published in 2011 by John Wiley and Sons, USA