never seen Jonas Mekas, and on Tuesday 13, during his visit to Madrid and, specifically, the small cinema The brown dwarf, I was very pleasantly surprised. And actually, if I had thought before, should not have called me special attention because the character of Lithuanian operator is fully consistent with the film and the methods he has employed throughout his long career professional.
We arracimábamos a handful of people near the door of the brown dwarf without forming a queue or store any kind of order. Minutes before the opening, air descpreocupado and cheerful, and Jonas Mekas was seen walking around and looking at those who waited patiently to see his movie and his statements in a narrow street Malasaña. It sensed a smile on his face half hidden by the profile of his hat, which does not take away all night, while talking to someone who must be a friend or acquaintance.
went into the charming film, we chose to sit on their couch, knowing that we had to stay four hours in the same position, adding the conference to three hours film, and look expectantly to the filmmaker announced star of the day. (Is there any contradiction more fun to call star filmmaker Jonas Mekas?). Then we were told that, at the express wish of Mekas (and for people to hold out until the end of the projection), its intervention would occur at the end of the film. Before the lights went out, I saw a flash of Mekas behind the door, drawing bursts of light with his coat in the same way they are captured in his films by his camera nervous. Because
Mekas live camera of his own nerve, and raises his concerns, his need to move a poetry that feeds on the strength of the real and the sensitivity of the moment captured. Mekas camera moves his pen to become the closest thing to remember the concept theorized by Astruc and rarely implemented. The independence and the necessary risk are perhaps too high, and this camera seems to follow fountain of Mekas internal dictates of someone like Walt Whitman, he feels the expression of joy that surrounds it as something everyone should know. And like Whitman, and unlike many great artists, here comes the poetry of life and not vice versa, and beauty comes from the joy the same way as happens in real life, which sometimes beauty is just an expression, a consequence of the sublimation of a high moral concept or a particular affection for something or someone.
Is it possible to convert a millionaire tacky wedding in style in an intimate celebration of poetry, an expression of joy of living? Yes, and it can be seen in Walden, the film projected onto the brown dwarf before Jonas Mekas in person took the floor and explicitly endorse all the feelings of optimism and euphoria that exude his films.
At first I thought the man was an idealist, but thinking about it later came to the conclusion that had nothing to do: it was rather the opposite. Jonas Mekas optimism seems to reach a path that may seem alien, that of the meticulous observation of reality and, consequently, pragmatism in daily life. Just as it can be considered totally pragmatic concept Pascal existence of God based on the likelihood and benefits end, the radiation of joy and vitality in Mekas seems a consequence of a totally open-minded thinking (someone tremendous merit 87 years), which shows that the best way, the most practical, to reach specific objectives, is the free expression of joy as a vehicle to achieve beauty. And there are accelerated to remember those images, manipulated, saturated, joyful and rich in concepts of Walden. Images back to the primeval, that look innocent on the things that people like Lumiere or Murnau discovered for the movies. What is more practical in the way everlasting human happiness, cross it obfuscated, concentrated and sad, worried about everything that can not be resolved and therefore remain unchanged for the desolation, or advance slowly, happy and not thinking rather than the immediate goal, that first goal on should not affect the menacing shadow that never shake enough? Mekas
becomes New York and makes poetry of the city, asphalt and cement, a unique place where you dwell on the details invisible to the naked eye, those same details, captured by a camera inert trivial make something sublime, a festival of emotions.
And Mekas said, at the end of the projection, we must not look back, and bask in the "past was any better," because the best is always come, and because we have a technology that we need not deny as do so many intellectuals (and talked about the Internet, video Digital media ..., his project of 365 cyber short and another scenario of 1001 with ...), but use it to shape our new reality, always dynamic to avoid death, and to set new ways of thinking , look and joy. And Mekas spoke of politics, and updated as a child of the 60 spoke of the resistance, the concept of resistance, to disown him: what we have to resist?, What we do, if anything we do not like, is to create new things, better, but not resist defending something that is continually mutating to avoid becoming part of the past. And so it was clear, to the handful of people who listened, how a man of 87 years may be more fresh and modern mentality in memory, no trace of nostalgia or complacency, wanting, alone, to look forward not dwell on what already has no solution, stalling a wide-brimmed hat , and progress along a path in which only partial import stages.
We arracimábamos a handful of people near the door of the brown dwarf without forming a queue or store any kind of order. Minutes before the opening, air descpreocupado and cheerful, and Jonas Mekas was seen walking around and looking at those who waited patiently to see his movie and his statements in a narrow street Malasaña. It sensed a smile on his face half hidden by the profile of his hat, which does not take away all night, while talking to someone who must be a friend or acquaintance.
went into the charming film, we chose to sit on their couch, knowing that we had to stay four hours in the same position, adding the conference to three hours film, and look expectantly to the filmmaker announced star of the day. (Is there any contradiction more fun to call star filmmaker Jonas Mekas?). Then we were told that, at the express wish of Mekas (and for people to hold out until the end of the projection), its intervention would occur at the end of the film. Before the lights went out, I saw a flash of Mekas behind the door, drawing bursts of light with his coat in the same way they are captured in his films by his camera nervous. Because
Mekas live camera of his own nerve, and raises his concerns, his need to move a poetry that feeds on the strength of the real and the sensitivity of the moment captured. Mekas camera moves his pen to become the closest thing to remember the concept theorized by Astruc and rarely implemented. The independence and the necessary risk are perhaps too high, and this camera seems to follow fountain of Mekas internal dictates of someone like Walt Whitman, he feels the expression of joy that surrounds it as something everyone should know. And like Whitman, and unlike many great artists, here comes the poetry of life and not vice versa, and beauty comes from the joy the same way as happens in real life, which sometimes beauty is just an expression, a consequence of the sublimation of a high moral concept or a particular affection for something or someone.
Is it possible to convert a millionaire tacky wedding in style in an intimate celebration of poetry, an expression of joy of living? Yes, and it can be seen in Walden, the film projected onto the brown dwarf before Jonas Mekas in person took the floor and explicitly endorse all the feelings of optimism and euphoria that exude his films.
At first I thought the man was an idealist, but thinking about it later came to the conclusion that had nothing to do: it was rather the opposite. Jonas Mekas optimism seems to reach a path that may seem alien, that of the meticulous observation of reality and, consequently, pragmatism in daily life. Just as it can be considered totally pragmatic concept Pascal existence of God based on the likelihood and benefits end, the radiation of joy and vitality in Mekas seems a consequence of a totally open-minded thinking (someone tremendous merit 87 years), which shows that the best way, the most practical, to reach specific objectives, is the free expression of joy as a vehicle to achieve beauty. And there are accelerated to remember those images, manipulated, saturated, joyful and rich in concepts of Walden. Images back to the primeval, that look innocent on the things that people like Lumiere or Murnau discovered for the movies. What is more practical in the way everlasting human happiness, cross it obfuscated, concentrated and sad, worried about everything that can not be resolved and therefore remain unchanged for the desolation, or advance slowly, happy and not thinking rather than the immediate goal, that first goal on should not affect the menacing shadow that never shake enough? Mekas
becomes New York and makes poetry of the city, asphalt and cement, a unique place where you dwell on the details invisible to the naked eye, those same details, captured by a camera inert trivial make something sublime, a festival of emotions.
And Mekas said, at the end of the projection, we must not look back, and bask in the "past was any better," because the best is always come, and because we have a technology that we need not deny as do so many intellectuals (and talked about the Internet, video Digital media ..., his project of 365 cyber short and another scenario of 1001 with ...), but use it to shape our new reality, always dynamic to avoid death, and to set new ways of thinking , look and joy. And Mekas spoke of politics, and updated as a child of the 60 spoke of the resistance, the concept of resistance, to disown him: what we have to resist?, What we do, if anything we do not like, is to create new things, better, but not resist defending something that is continually mutating to avoid becoming part of the past. And so it was clear, to the handful of people who listened, how a man of 87 years may be more fresh and modern mentality in memory, no trace of nostalgia or complacency, wanting, alone, to look forward not dwell on what already has no solution, stalling a wide-brimmed hat , and progress along a path in which only partial import stages.
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