Diver Inspiring Quotes

AWARENESS IS THE OCEAN FLOOR, THINKING THE SURFACE. SPIRITUAL SEEKER THE DIVER, NONSEEKER THE SWIMMER

But I shall transmit their names far down the ages. These names alone will remain in the future, divested of their objects. Who, it will be asked, were Bulkaen, Harcamone, Divers, who was Pilorge, who was Guy? And their names will inspire awe, as we are awed by the light from a star that has been dead a thousand years. Have I told all there was to tell of this adventure? If I take leave of this book, I take leave of what can be related. The rest is ineffable. I say no more and walk barefoot.

awe-inspiring shit we put on shelves.” These included live waxworms, a five-pound gummi bear, a diver’s speargun, a book titled Venus with Biceps: A Pictorial History of Muscular Women, a butt plug attached to a plush foxtail,

Le service militaire réunit matériellement les hommes et crée une unité apparente autour d'un critère précis : avoir un pénis "qui fonctionne". Basé sur une idéologie patriotique valorisée par les familles, il rassemble ceux qui ont le "pouvoir de baiser" pour former le corps principal de la nation. Il donne l'image d'une piscine dans laquelle des hommes, se situant à différents niveaux de la hiérarchie sociale et issus de milieux culturels très divers, nagent maladroitement, mais tous ensemble. Sortir de cette piscine est impossible, tout comme fermer les yeux, s'arrêter ou s'isoler. Les hommes restent, continuant à nager sans savoir pourquoi. Pourtant, d'autres gardent en mémoire l'image d'un chaudron plutôt que celle d'une piscine. Cuire ensemble est un processus de co-construction.

Known as “Leni,” Helene Bertha Amalie Riefenstahl was born on August 22, 1902. During the Third Reich she was known throughout Germany as a close friend and confidant of the Adolf Hitler. Recognized as a strong swimmer and talented artist, she studied dancing as a child and performed across Europe until an injury ended her dancing career. During the 1920’s Riefenstahl was inspired to become an actress and starred in five motion pictures produced in Germany. By 1932 she directed her own film “Das Blaue Licht.” With the advent of the Hitler era she directed “Triumph des Willens” anf “Olympia” which became recognized as the most innovative and effective propaganda films ever made. Many people who knew of her relationship with Hitler insisted that they had an affair, although she persistently denied this. However, her relationship with Adolf Hitler tarnished her reputation and haunted her after the war. She was arrested and charged with being a Nazi sympathizer, but it was never proven that she was involved with any war crimes. Convinced that she had been infatuated and involved with the Führer, her reputation and career became totally destroyed. Her former friends shunned her and her brother, who was her last remaining relative, was killed in action on the “Eastern Front.” Seeing a bleak future “Leni” Riefenstahl left Germany, to live amongst the Nuba people in Africa. During this time Riefenstahl met and began a close friendship with Horst Kettner, who assisted her with her acknowledged brilliant photography. They became an item from the time she was 60 years old and he was 20. Together they wrote and produced photo books about the Nuba tribes and later filmed marine life. At that time she was one of the world's oldest scuba divers and underwater photographer. Leni Riefenstahl died of cancer on September 8, 2003 at her home in Pöcking, Germany and was laid to rest at the Munich Waldfriedhof.

Sometimes we so unnecessarily believe that the thing we can see is best for us. But, it is only because we are not willing to see beyond it. When a diver gets into sea, he deserves the pearl, not the pebbles. If he satiates himself with the pebbles, due to fear of drowning, someone else will take the pearl. You have gotten into this life. Do not get disheartened with the pebbles, you deserve the pearl.

Downdraughts and Upwellings Just the mention of a downcurrent is enough to inspire fear in many divers as they visualize themselves getting caught by an irresistible force that drags them into the abyss with no opportunity for escape. The natural response when confronted with a situation like this where you feel out of control is to panic but there is no need. Normally, downdraughts or downcurrents are localized phenomena that occur along reef walls: think of them as waterfalls in the sea. When you encounter one, the first thing to do is get out of the flow by moving closer in to the wall so that the contours offer you shelter. Once out of the stream, relax, exhale, take a few deep full breaths, check your air supply, depth and decompression status, look around you and plan. Look to see where the big fish are hiding or if there is a place where the sea whips are not waving around. It is not a good idea to fight a downcurrent. It is a struggle you cannot win. The oft-quoted tactic of inflating your BCD to counteract its efforts to carry you down is potentially dangerous as the current might suddenly release you from its hold and you will find yourself on a runaway ascent to the surface, which will do you much more harm than the current could do. Unless you have spotted a place further along the wall that seems calm, usually the best advice is to swim laterally out away from the reef towards the blue. If you find yourself being carried a little deeper initially, stay calm and keep swimming, you will emerge from the pull of the downcurrent before long or its effect will weaken and allow you to begin your ascent and return to the wall. Think of upwellings as reverse down currents. The same advice applies. First move into the wall out of the flow, relax, think, observe and act calmly.

Anyone seeking to draw closer to God needs to curb the horizontal and ascend to God vertically,’ he said. ‘And this means giving oneself fully to God – with all one’s heart, body, mind and soul. There mustn’t be any dark corners.’ Skimming the surface wasn’t an option, he stressed. ‘People often tend to merely skate around the edges of religion, but what they really need is to plunge into its depths like deep-sea divers looking for treasures. Too many people nowadays make selective choices from various faiths – the New Age approach, but never embrace any one of them fully,’ said Nasr. It was true, so many people didn’t believe in organised religion but liked to take the best from every religion or spiritual teaching. ‘The most direct means of communication with God,’ he concluded, ‘are prayer and dhikr.

La censure sous Ceaușescu, vue par Vasile Andru (p. 327-328) : Il y avait une dizaine de procédés. Ma génération les a tous pratiqués, appliqués surtout d'une façon empirique selon l'inspiration du moment. Ces procédés commencent par un palier lexical-sémantique, continue avec l'observation de stratégies de construction et d'expression, l'écriture entre les lignes, le syntagme énigmatique, l'utilisation de procédés ésopiques tels que l'allégorie et la parabole ou les déguisements spatio-temporelles et, enfin, divers procédés expérimentaux. Tout cela était associé aux stratégies de négociation. En voici quelques exemples : Les mots défendus : l'affût de la censure commencée dès le mot… Il existait des listes de mots prohibés. Lorsque le livre avait reçu le visa de la censure (donc sans les mots refusés), je travaillais à nouveau le texte avant son impression. Je remettais à leur place certains mots défendus… Le rédacteur du livre (l'éditeur) devait être un allié sinon tout tombé à l'eau… Les codes allusifs : ils ont conduit à une littérature ésopique. En Roumanie tout le monde a appris ces codes allusifs de sorte qu'ils fonctionnaient au niveau de la société. Ainsi, l'expression ésopique n'a-t-elle pas isolé l'écrivain, quoiqu'elle ait peut-être isolé notre littérature du monde entier. Le récit allégorique : je crois que les années soixante-dix ont propulsé en général l'allégorie pour deux raisons : la première, c'était l'angoisse existentielle (poussée parfois jusqu'à la névrose) et la seconde, c'était l'ambition universaliste. La tendance à l'occultation était associée à créer des visions vastes. Cette démarche cachait tout autant un geste cognitif que contestataire. Le déguisement romantique : le genre historique nous a permis à nous les écrivains, des renvois au présent. En parlant de la manière dont Trajan a puni les délateurs de Rome, il était clair à quels délateurs je faisais allusion. L'expérimentation littéraire : avec les proses des années 1980 j'ai introduit des procédés plus élaborés - le montage cinétique, le « relanceur textuel » coupé du contexte. En cela, il ne s'agissait pas seulement de contrecarrer la vigilance de la censure, mais de repenser l'efficience du langage, il s'agissait d'une « revigoration » moderniste. Quoiqu'il en soit, je n'ai jamais misé sur la naïveté de la censure ou sur sa bêtise. Les censeurs n'étaient pas bêtes, on ne pouvait pas les duper. Ils étaient diplômés, c'était nos anciens camarades de faculté. Malgré les procédés utilisés il arrivait qu'un livre soit refusé. Il fallait alors changer la maison d'édition et il pouvait arriver que la publication soit accordée à l'une de ces maisons plutôt qu'à l'autre. Entraient en alors en jeu le zèle ou l'excès de prudence avec lesquels ces dernières agissaient.

Quels que soient les résultats de l'examen de l'hymen, ils peuvent toujours se retourner contre la victime. Intact, comme preuve d'absence de viol. Déchiré ou absent, comme preuve de moralité suspecte.

Life is a matter of luck, and the odds in favor of success are in no way enhanced by extreme caution. — WWII German U-Boat Commander Eric Topp

No Rules. No Excuses. No Regrets. - The Break Diver's Creed

have been straight away shot. So we had to have a very, very positive attitude.’ I was running out of energy. All the effort of getting the piece of cotton

La censure sous Ceaușescu, vue par Vasile Andru : Il y avait une dizaine de procédés. Ma génération les a tous pratiqués, appliqués surtout d'une façon empirique selon l'inspiration du moment. Ces procédés commencent par un palier lexical-sémantique, continue avec l'observation de stratégies de construction et d'expression, l'écriture entre les lignes, le syntagme énigmatique, l'utilisation de procédés ésopiques tels que l'allégorie et la parabole ou les déguisements spatio-temporelles et, enfin, divers procédés expérimentaux. Tout cela était associé aux stratégies de négociation. En voici quelques exemples : Les mots défendus : l'affût de la censure commencée dès le mot… Il existait des listes de mots prohibés. Lorsque le livre avait reçu le visa de la censure (donc sans les mots refusés), je travaillais à nouveau le texte avant son impression. Je remettais à leur place certains mots défendus… Le rédacteur du livre (l'éditeur) devait être un allié sinon tout tombé à l'eau… Les codes allusifs : ils ont conduit à une littérature ésopique. En Roumanie tout le monde a appris ces codes allusifs de sorte qu'ils fonctionnaient au niveau de la société. Ainsi, l'expression ésopique n'a-t-elle pas isolé l'écrivain, quoiqu'elle ait peut-être isolé notre littérature du monde entier. Le récit allégorique : je crois que les années soixante-dix ont propulsé en général l'allégorie pour deux raisons : la première, c'était l'angoisse existentielle (poussée parfois jusqu'à la névrose) et la seconde, c'était l'ambition universaliste. La tendance à l'occultation était associée à créer des visions vastes. Cette démarche cachait tout autant un geste cognitif que contestataire. Le déguisement romantique : le genre historique nous a permis à nous les écrivains, des renvois au présent. En parlant de la manière dont Trajan a puni les délateurs de Rome, il était clair à quels délateurs je faisais allusion. L'expérimentation littéraire : avec les proses des années 1980 j'ai introduit des procédés plus élaborés - le montage cinétique, le « relanceur textuel » coupé du contexte. En cela, il ne s'agissait pas seulement de contrecarrer la vigilance de la censure, mais de repenser l'efficience du langage, il s'agissait d'une « revigoration » moderniste. Quoiqu'il en soit, je n'ai jamais misé sur la naïveté de la censure ou sur sa bêtise. Les censeurs n'étaient pas bêtes, on ne pouvait pas les duper. Ils étaient diplômés, c'était nos anciens camarades de faculté. Malgré les procédés utilisés il arrivait qu'un livre soit refusé. Il fallait alors changer la maison d'édition et il pouvait arriver que la publication soit accordée à l'une de ces maisons plutôt qu'à l'autre. Entraient en alors en jeu le zèle ou l'excès de prudence avec lesquels ces dernières agissaient.

If you want to live greatly, you must also be willing to risk greatly. To get to the pearls, the diver needs to be willing to go deep and visit the places that the timid souls would never visit.

Knowing and loving God functions for a Christian the way that good training functions for a scuba diver. It teaches us. It trains how we see and respond to the world. It is represented in the decisions we make-- even the smallest ones.

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That day, after barely resurfacing from a seventy-two meter warm up dive into the Blue Hole, Mevoli went into cardiac arrest and died. This time, he wasn’t able to bring himself back. When asked to comment on the accident, Natalia Molchanova, regarded by many as the greatest freehold breath diver in the world, said, “the biggest problem with freedivers . . . [is] now they go too deep too fast.” Less than two years later, off the coast of Spain, Molchanova took a quick recreational dive of her own. She deliberately ran though her usual set of breathing exercises, attached a light weight to her belt to help her descend, and swam downward, alone. It was supposed to be a head-clearing reset. But, Molchanova didn’t come back either. And that’s the problem that free diving shares with many other state-shifting techniques: return too soon, and you’ll always wonder if you could have gone deeper. Go too far, and you might not make it back.