More from the 1960s

It's like Nietzsche said, books will fall off the shelves into your hands. After the last post, I remembered Jean-Luc Godard's 1963 film "Le Mepris" (Contempt). Contempt was shot partly at Casa Malaparte in Capri, designed and owned by Italian writer Curzio Malaparte, which is more a sundeck than a house. Casa Malaparte is the object of artistic worship and it is no wonder that you can find the abundance of data about it. But, there is rarely an opportunity to experience the experience of the Casa Malaparte that happened at one particular moment in time. There's a YouTube video that somebody made, with exactly those moments in the movie when Brigitte Bardot walks on the sundeck, with the roof lines stretching to the blue horizon of this cineastic structuralist plain extending above the Gulf of Salerno. Like with Jean-Paul Belmondo in Brasilia, in these sequences the moment in time with the work of art will outlast the work of art itself. This intention is obvious in the film. Were the 1960s more patient with their moments or was it something that was found back then, the underlying structures that were supposed to connect the world into a single experience of the planetary human and extend to the horizon?

Casa Malaparte was abandoned and neglected, later renovated. Regardless of its previous or current state, there is one permanent state of that architectural marvel that will never change, and that is the state of its moment in this cineastic human time that stretches indefinitely. This is the feature of one particular era where the film camera had an eye for it, there was a special lens - some strange naïveté towards the structure. Open and uncritical of the existence of something underlying the time and space of the planetary human.