{"id":104397,"date":"2023-08-24T14:52:11","date_gmt":"2023-08-24T14:52:11","guid":{"rendered":"https:\/\/logon.media\/logon_article\/posvatny-okamih\/"},"modified":"2023-08-24T15:04:00","modified_gmt":"2023-08-24T15:04:00","slug":"posvatny-okamih","status":"publish","type":"logon_article","link":"https:\/\/logon.media\/sk\/logon_article\/posvatny-okamih\/","title":{"rendered":"Posv\u00e4tn\u00fd okamih"},"content":{"rendered":"<p>Za star\u00fdch \u010dias sa filmy vyr\u00e1bali zo\u00a0sn\u00edmok, mal\u00fdch obr\u00e1zkov, ktor\u00e9 sa pos\u00favali na cievke v\u00a0projektore a\u00a0tak vytv\u00e1rali obrazy, ktor\u00e9 sa pohybovali. Na ich \u00fapravu sta\u010dilo pou\u017ei\u0165 orez\u00e1va\u010d na celuloidov\u00fd p\u00e1s a vystrihn\u00fa\u0165 nechcen\u00e9 sc\u00e9ny, alebo ponecha\u0165 ve\u013emi \u017eiadan\u00e9 a necenzurovan\u00e9 \u2013 ako vo filme <em>Cine Paradiso<\/em> od Giuseppa Tornatore so soundtrackom od nezabudnute\u013en\u00e9ho Ennia Morricone.<\/p>\n<p>Ale, a ako zostriha\u0165 film o Umen\u00ed Skuto\u010dn\u00e9ho \u017divota, s jeho alch\u00fdmiou, ktor\u00e1 n\u00e1s vedie k skuto\u010dn\u00e9mu seba-poznaniu, k t\u00fa\u017eeniu po osloboden\u00ed, ktor\u00e9 n\u00e1s privedie k tomu, aby sme sa odovzdali transcendentnu, aby sme sa odovzdali nov\u00e9mu vedomiu, ktor\u00e9 n\u00e1s privedie k \u00faplnej dokonalosti? Ak chcete upravova\u0165, mus\u00edte ma\u0165 dobr\u00e9 krit\u00e9ri\u00e1 a \u00fasudok. Ako m\u00f4\u017eete hodnoti\u0165 jednotliv\u00e9 sc\u00e9ny bez toho, aby ste si pozreli cel\u00fd film?<\/p>\n<p>Navy\u0161e, treba si uvedomi\u0165, \u017ee existuje \u010das a ve\u010dnos\u0165. To merate\u013en\u00e9 a\u00a0to nemerate\u013en\u00e9. V\u00a0ktorom okamihu sa navz\u00e1jom stret\u00e1vaj\u00fa?<\/p>\n<p>Ka\u017ed\u00fd de\u0148 sme v\u0161etci vle\u010den\u00ed pozd\u013a\u017e l\u00ednie, ktor\u00fa vytv\u00e1rame: l\u00ednie bez n\u00e1vratu, kone\u010dnej a smrte\u013enej. Pam\u00e4\u0165 zaznamen\u00e1va minulos\u0165, fant\u00e1zia nazer\u00e1 do bud\u00facnosti. A\u00a0my, my zost\u00e1vame v strede.<\/p>\n<p>N\u00e1hle, pri polievan\u00ed z\u00e1hrady, z\u00e1blesk vody na okvetnom lupienku otv\u00e1ra vesm\u00edr. \u201e<em>Mot\u00fdle a vt\u00e1ky vzlietaj\u00fa: oblak kvetov<\/em>\u201c (Bash\u00f4) (1).<\/p>\n<p>Trblietanie sa udr\u017e\u00ed vo vzduchu, p\u00e1r sek\u00fand. Je nemo\u017en\u00e9 zachyti\u0165 ho. Film \u017eivota plynie okolo, v projektore \u010dasu. Chceme zastavi\u0165 pohyb, chceme v tomto sn\u00edmku nav\u017edy zastavi\u0165 \u017eivot. Nemo\u017en\u00e9.<\/p>\n<p>Unaven\u00fd, vraciam sa do be\u017en\u00e9ho \u017eivota. Z\u00e1hrada je st\u00e1le tam, kvapka vody u\u017e stiekla, lupienok sa ohol a spadol na lavi\u010dku na slnku a moje my\u0161lienky bl\u00fadia medzi spomienkami a pl\u00e1nmi. C\u00edtim slnko na mojej poko\u017eke, zviera, ktor\u00fdm som.<\/p>\n<p>Ten okamih pre\u0161iel tak r\u00fdchlo, \u017ee, nepozorn\u00fd, zabudol som na\u0148.<\/p>\n<p>Osloboden\u00fd od spomienok a unaven\u00fd nato, aby som si dok\u00e1zal robi\u0165 konkr\u00e9tne pl\u00e1ny, st\u00e1vam sa pr\u00e1zdnym. Ako zviera na slnku.<\/p>\n<p>To nemyslite\u013en\u00e9 ma op\u00e4\u0165 dobehne. Prich\u00e1dza len vtedy, ke\u010f, nepozorn\u00fd, zabudnem. Neexistuje \u017eiadna my\u0161lienka, \u017eiaden pocit, \u017eiadna reakcia. V tej chv\u00edli som zabudol na seba a\u00a0som nepozorn\u00fd vo\u010di svetu, nie som. \u201e<em>Som ni\u010d. Nikdy nebudem nie\u010d\u00edm. Nem\u00f4\u017eem chcie\u0165 by\u0165 nie\u010d\u00edm. Okrem toho, m\u00e1m v sebe v\u0161etky sny sveta,<\/em>\u201c hovor\u00ed \u00c1lvaro de Campos-Pessoa.<\/p>\n<p>To posv\u00e4tn\u00e9 je tajomn\u00e9, je to tajomstvo. Je vyhraden\u00e9 a d\u00f4vern\u00e9. Je to vn\u00fatorn\u00e9 myst\u00e9rium, pe\u010da\u0165. Je to to, \u010do odde\u013euje bo\u017esk\u00fd svet od \u013eudsk\u00e9ho. Ale je to aj to, \u010do ich sp\u00e1ja. Ten nevyslovite\u013en\u00fd, neop\u00edsate\u013en\u00fd okamih otv\u00e1ra takmer nepostrehnute\u013en\u00fa trhlinu. Ale v\u00a0nej neexistuje \u017eiadna my\u0161lienka, \u017eiadny obraz, \u017eiadny zvuk. Len energia inej povahy, z\u00a0in\u00e9ho bez-\u010dasov\u00e9ho \u010dasu, z\u00a0bez-miestov\u00e9ho miesta, z\u00a0in\u00e9ho svetla.<\/p>\n<p>V chr\u00e1movom tichu mojich zavret\u00fdch o\u010d\u00ed, \u00a0obr\u00e1ten\u00fdch dovn\u00fatra, sa chveje svetlo, beztvar\u00e9 pocito-my\u0161lienky. Neexistuje ni\u010d a existuje v\u0161etko.<\/p>\n<p>Ke\u010f sa vr\u00e1tim do tu a teraz z\u00e1hrady, spomienky sa vr\u00e1tia. Zaznieva hlas \u00c1lvara de Campos, ktor\u00fd od neho, metafyzika, vy\u017eaduje praktick\u00fa realitu: \u201e<em>Vyu\u017e\u00edvajte \u010das! Ale \u010d\u00edm je \u010das, ktor\u00fd sa m\u00e1 \u010d\u00edm viac vyu\u017e\u00edva\u0165?<\/em>\u201c (2)<\/p>\n<p>Pragmatick\u00fd \u0161ok pad\u00e1 ako olovo na zlato posv\u00e4tn\u00e9ho. A ja sa p\u00fdtam s\u00e1m seba: \u010d\u00edm je prebudenie?<\/p>\n<p>Op\u00e4\u0165 sa preb\u00fadzam v minulosti. B\u00e1se\u0148, ktor\u00fa som nap\u00edsal, ke\u010f som mal osemn\u00e1s\u0165, mi u\u017e vtedy uk\u00e1zala, \u017ee v \u201erealite\u201c (napokon, \u010do je re\u00e1lne?) \u017eivot nie je viac ako 5 min\u00fat, maxim\u00e1lne.<\/p>\n<blockquote><p><em>5 MIN\u00daT<\/em><\/p>\n<p><em>Ke\u010f sa \u017eivot zastav\u00ed,<\/em><\/p>\n<p><em>ke\u010f obraz neulet\u00ed,<\/em><\/p>\n<p><em>ke\u010f sa \u00fazkos\u0165 poh\u013eadu<\/em><\/p>\n<p><em>a\u00a0istota \u00fasmevu<\/em><\/p>\n<p><em>statick\u00fdmi st\u00e1vaj\u00fa,<\/em><\/p>\n<p><em>ke\u010f vt\u00e1k, sn\u00edman\u00fd fotografom na n\u00e1mest\u00ed,<\/em><\/p>\n<p><em>svoje kr\u00eddla v pokojnom lete rozprestrie,<\/em><\/p>\n<p><em>ke\u010f \u013eahk\u00e9 gesto ustane,<\/em><\/p>\n<p><em>ke\u010f slza zostane,<\/em><\/p>\n<p><em>a Bytos\u0165 sa rozochveje,<\/em><\/p>\n<p><em>je portr\u00e9t \u017divota hotov\u00fd.<\/em><\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p>B\u00e1se\u0148 je trochu melancholick\u00e1, ale pravdiv\u00e1. Ur\u010dite nezachytila to posv\u00e4tn\u00e9, ktor\u00e9 tam bolo, nevidite\u013en\u00e9 a tich\u00e9.<\/p>\n<p>Fernando Pessoa (2)\u00a0raz povedal: \u201e<em>C\u00edti\u0165 znamen\u00e1 by\u0165 nepozorn\u00fd<\/em>\u201c.<\/p>\n<p>Ide len o to, \u017ee posv\u00e4tn\u00fd okamih je sveteln\u00fdm bodom medzi plynut\u00edm \u010dasu a\u00a0ve\u010dnou statikou.<\/p>\n<p>Preto Paulo Leminski (3)\u00a0nap\u00edsal to\u013eko haikai, stal sa multimedi\u00e1lnym b\u00e1snikom a povedal: \u201e<em>Pr\u00e1ve v\u010dera som pozval priate\u013ea, aby so mnou ml\u010dal<\/em>\u201c.<\/p>\n<p>\u00c1no. Mus\u00edme ml\u010da\u0165 spolu. Tak, mo\u017eno, medzi ka\u017edodennou rutinou a\u00a0transcendentn\u00fdm impulzom \u201e<em>Nepozorn\u00ed vyhr\u00e1me!<\/em>\u201c, ako povedal Leminski v\u00a0n\u00e1zve jednej z jeho kn\u00edh.<\/p>\n<p>&nbsp;<\/p>\n<p>BIBLIOGRAFICK\u00c9 ODKAZY<\/p>\n<p>(1) Frade, Gustavo e Carranza, Ricardo: In\u00a0<em>Doze poemas de Matsuo Bash\u00f4 <\/em><em>\u00a0(In Dvan\u00e1s\u0165 b\u00e1sn\u00ed od Matsuo Bash\u00f4), Revista Arquitetura + Arte<\/em>, vol. 20(1), Ed. Arquitetura + Arte, Juiz de Fora, 2020.<\/p>\n<p>(2) Pessoa, Fernando: <em>Obras completas <\/em><em>(Kompletn\u00e9 diela)<\/em>, volume II, Amazon kindle, pr\u00edstup d\u0148a 6.01.2023.<\/p>\n<p>(3) Leite, Elizabeth Rocha: <em>Leminski: o poeta da diferen\u00e7a (Leminski: b\u00e1snik odli\u0161nosti)<\/em>, Ed. EDUSP, S\u00e3o Paulo, 2012.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"author":609,"featured_media":103896,"template":"","meta":{"_acf_changed":false},"tags":[],"category_":[110436],"tags_english_":[],"class_list":["post-104397","logon_article","type-logon_article","status-publish","has-post-thumbnail","hentry","category_-spirit-soul-sk"],"acf":[],"_links":{"self":[{"href":"https:\/\/logon.media\/sk\/wp-json\/wp\/v2\/logon_article\/104397","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/logon.media\/sk\/wp-json\/wp\/v2\/logon_article"}],"about":[{"href":"https:\/\/logon.media\/sk\/wp-json\/wp\/v2\/types\/logon_article"}],"author":[{"embeddable":true,"href":"https:\/\/logon.media\/sk\/wp-json\/wp\/v2\/users\/609"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/logon.media\/sk\/wp-json\/wp\/v2\/media\/103896"}],"wp:attachment":[{"href":"https:\/\/logon.media\/sk\/wp-json\/wp\/v2\/media?parent=104397"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/logon.media\/sk\/wp-json\/wp\/v2\/tags?post=104397"},{"taxonomy":"category_","embeddable":true,"href":"https:\/\/logon.media\/sk\/wp-json\/wp\/v2\/category_?post=104397"},{"taxonomy":"tags_english_","embeddable":true,"href":"https:\/\/logon.media\/sk\/wp-json\/wp\/v2\/tags_english_?post=104397"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}