Aerial View in Cinema

 

Aerial View as a Cinematic Tool

Panoramic landscapes in cinema are an essential part of filmmaking. They can create a sense of beauty, vastness, depth, grandeur, and magic. 

The panoramic aerial view is a powerful cinematic tool, enabling filmmakers to create a wide range of visual and narrative effects. It can be used to create a sense of space, depth, movement, and drama.

For instance, an aerial shot can emphasize the size and power of a natural landscape, expose social disparities within a large city, or create a sense of threat and danger in a chase scene.

Through the aerial view, filmmakers can manipulate the audience's perception of perspective. They can play with relative size, camera angles, and depth of field to create optical illusions and evoke specific emotions.

For example, an aerial shot of a small figure walking alone in the desert can create a sense of loneliness and helplessness, while an aerial shot of a vast crowd at a demonstration can create a sense of power and solidarity.

The aerial view can also serve as an important narrative tool. It can be used to present the plot from a broader perspective, reveal crucial information inaccessible to the characters, or create dramatic effects of surprise and discovery.

For example, in Alfred Hitchcock's film "Psycho", the aerial view is used to reveal the isolated location of the motel and the danger lurking for the protagonist.

The aerial view is particularly prevalent in certain film genres, such as war films, Westerns, and science fiction films. It allows filmmakers to create spectacular and breathtaking scenes, transporting viewers to imaginary worlds. 

"2001: A Space Odyssey" (1968) and many other science fiction films dealing with space flight incorporate panoramic views of Earth as seen from space, landscapes used to create a sense of immense scale and to emphasize the smallness of humanity within the universe. In the "Star Wars" films, the aerial view is used to create impressive and action-packed space battles.

The development of cinematic technology, especially the invention of drones and digital cameras, has expanded the creative possibilities of the aerial view in cinema. Today, filmmakers can create more complex and sophisticated aerial shots than ever before.

"2001: A Space Odyssey" - Earth seen from a distance 

History of Aerial View in Cinema

The aerial view in cinema is more than just a matter of vision; it's also a matter of sensation. The feeling of flight is central to the aerial view, as is the pleasure derived from observing the Earth from an unusual perspective. The particular pleasure of the cinematic gaze, concerning the aerial view, lies in the oscillation between static visual perception and dynamic perception.

Cameras abroad Balloons Sensation:

The modern aerial view is the result of two technological processes: The automation of vision and the expansion of human visual range. The automation of vision began with the invention of the camera in the mid-19th century. The camera allowed people to capture images of the world from a new perspective, that of a detached observer. The expansion of human visual range began with the invention of the balloon in the late 18th century. The balloon allowed people to see the world from a higher vantage point, providing new insights into space.

The aerial view in cinema is a combination of these two processes. The movie camera allows for the creation of cinematic images of the world from a high perspective, similar to that obtained from an airplane.

Cinema emerged during a time of great focus on conquering the skies and liberating the human gaze from its physical limitations. As early as 1898, the Lumière brothers filmed a short film from a balloon tethered to the ground. The film was shot from a vertical perspective, allowing the viewer to see the landscape in a very different way than they usually would. The film shows movement both inside and outside the gondola. The movement inside the gondola is created by the passengers, and the movement outside is created by the people and vehicles moving on the ground. The film also illustrates how space looks from a vertical perspective. The horizon line disappears, and the world appears flatter and more organized. The film reveals, probably for the first time, the concrete kinetic and static dimensions of the aerial experience in space.

Cinema, thanks to its unprecedented freedom of possibilities and mobility, became the accepted way to convey the aerial experience, along with the inherent instability of perspective. The verticality of the viewpoint is originally a strange kind of visual effect, a unique fusion of macroscopic vision and microscopic observation. Observing the world from above allows for an unprecedented expansion of the field of vision but also makes the world seem smaller and more distant. Early cinema maintained a combination of "I see" with "I fly''. The field was far from being limited to cinematic representation and was connected to the broader question of visual culture.

The history of the aerial view in cinema can be divided into three stages:

The Experimental Stage (1898-1914): During this phase, filmmakers experimented with various aerial filming techniques. They used balloons, airships, and airplanes to capture the world from new and surprising perspectives.

The Developmental Stage (1914-1939): In this stage, aerial filming techniques became more sophisticated. Filmmakers used these techniques to create special effects and tell new stories.

The Cinematic Focus Stage (1939-present): The aerial view has become an integral part of cinema. It is used in a wide variety of films, from documentaries to feature films.

The development of aerial photography in cinema until 1914 led to spectacular and highly significant presentations. Even before the First World War, some photographers began equipping airships, and later airplanes, with movie cameras to explore the feeling of free flight in space. An article from 1911 recounts the filming of an aerial tour in agricultural France, aboard various aircraft. The footage presented was excellent in terms of its image quality components, such as clarity and sharpness. It was also good in terms of its documentary quality, for observation, topography, and touring purposes. A second article from 1912 focuses on the technical aspects of aerial photography. One of the main challenges in aerial photography is the need to use a wide-angle lens to capture the entire picture. It is also important to use a camera with a fast shutter speed to prevent blurring due to the aircraft's movements.

In the first decades of the 20th century, an almost blind faith in the objectivity of mechanical reproduction methods, such as photography and cinema, only emphasized the purposeful tendency that saw in the vast images obtained from the air the natural replacement for cartographic maps. However, these images often proved less "readable" than a conventional map. For example, when examining large structures from a completely vertical view, it is impossible to identify them because they appear as two-dimensional geometric shapes.

In an Airship Over the Battlefields:

In 1918, after the end of the First World War, aerial films began to appear more widely in cinema. One of the most significant projects in this field was the series of short films "In an Airship Over the Battlefields", produced by the French military cinema. The series, filmed between 1918 and 1919, documents the destruction caused in France during the war. The first film in the series depicts the journey of an airship over France, starting in Paris and ending in the front-line areas. The second film depicts the battlefields of the Somme, while the third film depicts the battlefields of Ypres. The fourth and final film depicts the process of France's reconstruction after the war. The films in the series use an aerial perspective to present the destruction caused in France dramatically. The footage shows destroyed houses, ruined churches, and neglected fields. They also show the bodies of soldiers killed in battles. The films were an essential historical document and were also used for propaganda purposes. They emphasized the extent of the destruction caused by the war and the need for the country's reconstruction. The films in the series were shot using special movie cameras developed for aerial photography. The cameras had a wide angle and a fast shutter speed. The filming in the series was technically challenging. The airship was limited in its movements, and the photographers had to deal with strong winds and its vibrations.

This series of short films significantly impacted developing aerial photography in cinema. They showed the potential of aerial photography to create dramatic and accurate images of historical events. They also influenced the development of aerial photography for propaganda purposes, demonstrating how aerial photography could be used to present reality dramatically and manipulatively. From a specifically cinematic perspective, these short films represent an important milestone in developing aerial photography in cinema. They were the first to make extensive use of aerial tracking shots. The aerial tracking shots in them are unique in that they manage to create a sense of free and energetic movement. The shots pass over vast areas, emphasizing the damage caused to the space. The use of aerial tracking shots allowed the camera to create a sense of intimacy with the viewer. The viewer feels as if they are flying with the airship and observing the destruction from a bird's-eye view. The films were also a source of fantasy. Aerial photography allows the viewer to see the world from a new perspective. The viewer can see the world as they do not usually see it, from a viewpoint above and beyond the human world. The films illustrated the potential of aerial photography to create a sense of freedom and transcendence. The shots allowed the viewer to feel as if they could fly above the world and see it from a bird's-eye view. 

"In an Airship Over the Battlefields" (1918-19)

The "In an Airship Over the Battlefields" films also significantly impacted avant-garde cinema. Avant-gardists saw in these films the potential of aerial photography to create new forms of cinematic art. They used aerial tracking shots to create a sense of free and energetic movement. They also used aerial tracking shots to create a sense of intimacy with the viewer.

The City as Aerial View

The cinematic focus on aerial photography solidified in the 1920s, particularly with the "city" as a central theme. Many filmmakers saw the city as a challenging and innovative place for filming, and aerial footage allowed them to see the city from a new angle.

Prominent examples of the use of aerial photography in cinema of that period include the following films:

"Berlin: Symphony of a Metropolis" (1927) is a film by Walter Ruttmann that uses aerial views to present the German city from a new angle and includes an avant-garde perspective.

"Skyscrapers" (1929) is a newsreel film by the Gaumont company, presenting aerial photography of the skyscrapers in Chicago.

"Flying Over New York" (1932) and "Beneath the Snow" (1934) are two more newsreel films by the Pathé company, presenting aerial shots of New York.

"Flying Over New York" (1932)

The Natural Amphitheater of Haifa Bay

The amphitheater offers an oblique design compromise between the horizontal and vertical dimensions of space. It is a structure built in the shape of a semicircle or a complete circle, with seats on a downward slope toward a stage in the lower center.

In the Hellenistic era, amphitheaters were an important part of life. They served as social and cultural centers, providing entertainment and enjoyment for people from all backgrounds, through gladiatorial combats, sporting events, and theatrical performances. After the fall of the Roman Empire, the many amphitheater structures built in every city were neglected.

The ancient amphitheater in Epidauros, Greece

In the modern city, ancient amphitheaters, like in Caesarea, have been renovated and have become a symbol of history, culture, and community. Today they are used to host cultural performances such as music, dance, and theater.

Nowadays, new amphitheaters are also being built for various purposes. The football stadium is the largest, most common, and most important of these.

Port cities that spill into a bay, like Rio de Janeiro and Haifa, have a topographical structure of a natural amphitheater. In Haifa, the stands are the hills of the Galilee and Carmel, and the stage in the lower center is the Zvulun Valley, the bay, and the ports. Metropolitan planning must be based on this principle.

Rio de Janeiro

The natural continuation of the natural amphitheater is from the seashore towards the underwater world. The underwater world is a mirror image of the world above ground. Coral reefs are underwater amphitheaters, where colorful fish swarm in spectacular landscapes.

Diver above a coral reef

Haifa is a natural amphitheatre metropolis, and may thrive as an international cultural, commercial and tourist center, if it makes the best use of its unique natural resources, of harmony between the sea, the mountain and the valley.

A vision for the development of the Haifa

How Technicolor Helped Defeat the Nazis

 

Some thinkers argue that the Nazis aspired to reshape occupied Europe according to their own cinematic vision, and Technicolor, an advanced American color technology, was among the factors that contributed to their downfall. This was due to Technicolor's superior quality compared to the parallel German color technology, Agfacolor.

Cinema played a central role in World War II, serving as a powerful propaganda tool for both the Allies and the Nazis. Color films, with their more realistic representation of the world, allowed viewers to connect with the story more deeply, evoke a wider range of emotions, and shape their perception of reality.

Colorful Hollywood films, shot in Technicolor, portrayed the United States as a technological and cultural powerhouse, encouraged enlistment in the military, contributed to national unity, and rallied support for the war effort. Moreover, in a world that had become "cinematic," where cinematic images shaped reality more than ever, the Nazis adopted their own cinematic worldview and systematically applied it to all aspects of life, including the planning and implementation of the Final Solution.  Attention to visual appearance characterized all stages of the Nazi mechanism, from concentration camps to extermination camps.

Color enhanced the perception of perspective, the human ability to understand and deal with concepts and problems in three-dimensional space. In this way, color gave films depth and an added dimension, which strengthened their impact on viewers. In occupied European countries, such as France, where American films were screened alongside German films, the technological quality of color served as a measure of each power's superiority.

Epic widescreen films, both American and German, used color to enhance the viewing experience and give historical and mythological stories greater credibility and effectiveness. Color added great value to these films in the eyes of viewers and helped them connect with the content and messages conveyed. Moreover, color allowed the "flight of the human spirit," a recurring motif in many children's and youth films, to be presented in a more convincing and vivid way, thereby reinforcing the message of freedom and hope.

In conclusion, while it is difficult to argue that Technicolor alone decided the war, there is no doubt that its superior quality contributed to the propaganda and cultural superiority of the United States and helped it achieve victory not only on the battlefield but also in the battle for public opinion.

From Technicolor to ILM
There is a certain similarity between the impact of Technicolor in World War II and the impact of George Lucas's Industrial Light & Magic (ILM) technology. In both cases, innovative and groundbreaking American technology contributed to establishing the United States' status as a leading power. Technicolor gave Hollywood films a significant visual advantage, and ILM revolutionized special effects in cinema. Both technologies greatly influenced popular culture. Technicolor created a rich and spectacular viewing experience, and ILM opened up a new world of visual possibilities in film and television. Both technologies contributed to the image of the United States as an innovative and creative power, capable of leading in technological and cultural fields.

Quantum Theory, Computing and Flight

 
Cinema and aviation, two revolutions that transformed the 20th century, have woven a unique and fascinating bond. Aviation, as a symbol of innovation and freedom, has provided cinema with endless inspiration, while cinema, as a medium of immense cultural power, has shaped our perception of aviation and its relentless pursuit of progress.
Aviation, representing innovation, freedom, and adventure, has served as a wellspring of inspiration for countless stories in cinema. From adrenaline-fueled action films set in the skies to romantic dramas unfolding against the backdrop of long flights, aviation has provided cinema with a diverse range of settings, plots, and unforgettable characters. 
Simultaneously, cinema has shaped cultural perceptions of aviation, often portraying it as a glamorous and exhilarating activity. Cinematic images of heroic pilots and elegant flight attendants have profoundly influenced how people perceive the world of aviation.
Cinema and aviation together have sparked inspiration and innovation  in various fields. Science fiction films have presented futuristic visions of spaceflight, igniting the imaginations of scientists and engineers, politicians and educators.
Cinema and aviation, much like the Age of Exploration and the Renaissance, are distinct expressions of humanity's ceaseless drive to innovate, explore, and transcend boundaries. Aviation, akin to the voyages of the explorers during the Age of Discovery, has enabled humanity to reach new horizons, quite literally, and expand its perspectives. Cinema, like the perspective and art of the Renaissance, has opened a window into new worlds of imagination and creation, shaping our perception of reality. Now, quantum theory represents the new "Age of Exploration", promising breakthroughs in science, medicine, and technology.  Similar to these historical periods, it challenges the limits of our thinking and invites us to envision a future where possibilities once deemed impossible become reality.
The connection between quantum computing and the Renaissance period might seem tenuous at first glance, yet a central point of similarity lies in their emphasis on three-dimensionality as a key tool for understanding the world.
In the Renaissance, the discovery of scientific perspective allowed artists to represent the world more realistically, utilizing depth and three-dimensionality in their paintings. This breakthrough led to a revolution in art, architecture, and the perception of space in general.
Similarly, quantum computing is based on quantum principles that enable the representation of information in a more complex and multi-dimensional manner than classical computing. This ability to process information in such a way opens doors to unprecedented developments in numerous fields, from medicine (developing new drugs) and materials science, from creating materials with enhanced properties to the discovery of new scientific breakthroughs. Just as the Age of Exploration, where 3D, in the sense of mapping the world and understanding its spherical shape, led to the discovery of new places and broadened horizons, so too might quantum computing, with its unique multi-dimensional capabilities, lead us to a new era of discoveries and technological advancements.
Quantum computing is a groundbreaking field that harnesses the principles of quantum mechanics, which is based on the electrons of an atom, rearranged to perform calculations. Unlike conventional computers that rely on "bits" which can only be 0 or 1, quantum computers utilize "qubits''. These qubits can exist in a state of superposition, meaning they can be both 0 and 1 simultaneously. Another unique property of qubits is "entanglement", which allows them to be intimately linked, so that an action on one qubit instantaneously affects all other entangled qubits, regardless of the distance between them.
This computation is carried out in conditions of near absolute zero temperature, which provides the electrons with a stable three-dimensional environment. Their operation within this three-dimensional space allows them to encompass any subject from all angles. The result is that they are capable of creating a perfect representation of reality.  Because of this, some researchers compare the operation of a quantum computer to the operation of the entire universe.
It will be possible to create an accurate picture of the world through them, since their computing units are electrons, like the atomic particles that make up the universe.
The size of quantum computers is growing exponentially. This is due to their fundamental structure, which is based on qubits. Unlike bits in classical computers, which can only be 0 or 1, qubits can be 0, 1, or both simultaneously. This unique property, which allows quantum computers to represent multiple values at the same time, means that as more qubits are added to a quantum computer, the number of possible states increases exponentially. For example, a quantum computer with 3 qubits can be in one of 8 possible states, while a quantum computer with 30 qubits can be in one of a billion possible states.
As a result, the power of a quantum computer is millions of times greater than that of a classical computer. Problems that would take today's supercomputers many years to solve, or that they are not capable of solving at all, can be solved by a quantum computer in an instant.
In the realm of the personal online universe, quantum computing will have a profound impact. Higher quality streaming, coupled with new algorithms for data analysis and machine learning, will enhance the ability of social networks and artificial intelligence applications to understand users and provide them with personalized content. Virtual reality worlds will become far more realistic. Telepathic communication, and even interstellar communication, will become practical.
One of the most prominent areas where quantum computing may greatly assist is in the development of atomic fusion reactors, which produce controlled atomic energy, in contrast to the atomic bomb that releases uncontrolled energy. Already today, such experimental reactors produce, for a very short time, a greater amount of energy than that required to produce it. Such reactors could be used to produce unlimited electricity. Such a fusion reactor could also be used as an engine for aircraft.
In the field of cinema, quantum computing will enable the creation of virtual worlds, animations, and special effects that are far more realistic and spectacular. Films in three-dimensional holograms that look exactly like reality, from a different angle on each side, without the need to use 3D glasses, will be perfected. Autonomous creation of films, whereby the filmmaker feeds a few minimal basic data into the computer, and it uses them to create a long and detailed film, will be easy and impressive.
The development and implementation of quantum computers is already well underway. Governments of superpowers like the US and China, companies like Google and Microsoft, and various research institutes have already established quantum computers with substantial investments. There is intense competition in this field, based on the certainty that whoever dominates this domain will also dominate global science and technology, security and cyber, energy, and economy. The development of metals and medicines, engineering and economic calculations, algorithms and encryption, are some of the immediate areas where quantum computing has the potential to revolutionize.
The quantum revolution is a foreseeable and well-founded process that has passed the experimental stage. The expectation is that by 2030 they will become widespread, and their areas of application will greatly expand, with interaction with them becoming as commonplace as with classical computers.

The Land Link to the Gulf: Dream or Mirage?

 

The war in Gaza is perceived as an initiative of Hamas, unrelated to Egypt or the peace initiative between Israel and Saudi Arabia, which includes a proposal to create an alternative to the Suez Canal through a land route across Saudi Arabia, connecting the Persian Gulf to the Mediterranean Sea. This is despite the fact that past experience has shown the difficulties involved in replacing major waterways. Examples include: Turkey - attempting to promote the construction of a canal to compete with the Bosphorus Strait; Nicaragua - a Chinese initiative to dig a canal to compete with the Panama Canal is facing difficulties; Thailand - a plan to dig a canal as an alternative to the Strait of Malacca is encountering resistance. Past experience shows that such initiatives struggle to materialize, due to geopolitical and economic concerns.

Admittedly, the projects mentioned are indeed different from a land route, such as one that would connect the Persian Gulf to the Mediterranean Sea. These are alternative waterways, while the proposed land route is of a completely different kind. For example, the railway line in Mexico, which connects the Pacific Ocean to the Atlantic Ocean and competes with the Panama Canal in the field of container traffic. However, it is important to note that land routes can also compete with sea routes, and sometimes even be a more convenient alternative. Indeed, the establishment of a land route may arouse less opposition compared to an alternative sea route, partly because it is less threatening to the interests of the countries controlling the existing sea routes, mainly because the volume of traffic on a land route is lower than on a sea route. Nevertheless, any transportation project of international scale, aimed at competing with an existing route, is expected to raise significant objections and difficulties, both geopolitically and economically. This is also due to the uncertainty surrounding the future of container traffic, which is becoming autonomous.

Control of major waterways is a significant source of power, and the superpowers do not give it up easily. The connection of international waterways to large-scale international conflicts is extensive. Examples: China is trying to expand its influence in strategic areas, including important waterways, and its struggle for control of the South China Sea is linked to control of the Strait of Malacca. The United States views the Panama Canal as an international waterway that is a strategic asset and vital to maintaining world order, and there are growing calls to restore sovereignty over the canal. It may oppose initiatives that could threaten the existing balance in freedom of navigation.

From the perspective of a power like Russia, the transition from an international waterway like the Bosphorus Strait to a national waterway west of Istanbul, as Turkey aspires to build, may be interpreted as a partial loss of its freedom of movement. Here are a few reasons why: Control - national waterways are under the exclusive control of the countries through which they pass. These countries can impose restrictions, fees, or even close the route to ships from other countries, which could harm the interests of powers like Russia. Economy - transit fees on national routes may be more expensive. Security - powers want major waterways to remain open to free passage to ensure their ability to transport goods and military forces freely. Control of a route by one country could threaten their security. Therefore, it is possible that the Russia-Ukraine war, which is partly also a war over control of the Black Sea, broke out also because of Erdogan's aspiration to establish the alternative canal to the Bosphorus Strait.

Inevitably, a land alternative to the Suez Canal that would pass through Israel would also lead to the establishment of a huge port in Gaza, which would bring economic prosperity to the Strip, create jobs, and develop infrastructure. The idea of a land transportation route between the Gulf and Israel, with a huge port in Gaza, is seemingly tempting. It has the potential to bring peace and prosperity to the residents of Gaza, to the extent that it will become the "Singapore" of the region. Egypt, however, may oppose the project. The main reason for this is the fear of damage to revenues from the Suez Canal, which is a significant source of income for Egypt. The Egyptian interests are: maintaining a monopoly - Egypt is interested in maintaining its status as the central maritime transit route between Asia and Europe; revenues - the Suez Canal generates huge revenues for Egypt, and it will not want another project to compete with it; regional influence - Egypt sees itself as a regional leader, and a project that would reduce its importance could damage its status.

The idea of a land route between the Gulf and Israel with a port in Gaza has enormous potential, but it encounters a significant obstacle in the form of Egyptian interests. There is no chance of convincing Egypt that it will not harm its interests and bring it economic and political benefits.

The idea of the future political and economic future of the Gaza Strip, once it is freed from the pressure to become "Singapore" and focuses on an economy based on local production and trade with Egypt and Israel, presents a more pragmatic and practical approach to economic development and regional stability, according to which the conflict between it and the State of Israel will fade away on its own. Here are some potential advantages to this approach: Realism - the "Singapore" model requires specific conditions that are difficult to replicate in Gaza, such as political stability, a strong judicial system, and advanced infrastructure. Focusing on local production and regional trade offers a more realistic way to achieve economic growth. Abandoning the dream of becoming "Singapore" is abandoning the grandiose national aspirations of the Gaza Strip. On the other hand, it offers other advantages: Utilizing comparative advantages - Gaza can leverage its existing resources, such as cheap labor, geographical proximity to large markets, and agricultural tradition, to develop local industries and export products and services to Egypt and Israel. Reducing dependence - focusing on regional trade can reduce Gaza's dependence on international aid and external bodies, thereby strengthening its economic and political independence.

Promoting peace with Saudi Arabia and establishing a land link between Israel and the Persian Gulf are two moves with enormous potential to change the face of the Middle East. Peace with Saudi Arabia will bring unprecedented regional stability. It will open new channels for economic and political cooperation, help curb Iranian influence, and promote normalization with other Muslim countries. The land link will turn Israel into a land bridge between Asia and Europe, significantly shorten the transportation times of goods, reduce costs and open new markets, and strengthen Israel's position as a transportation and tourism center. However, it is important to remember that these processes require delicate and careful handling. The land link raises security and political concerns in the countries involved, requires complex coordination and large investments in infrastructure, and may encounter opposition from interested parties. Therefore, the two processes should be promoted gradually, taking into account the different sensitivities and building trust between the parties. An organic approach, based on quiet and modest dialogue, may yield better results in the long run.

The State of Israel should reconsider the decision to promote the transportation project between the Persian Gulf and Israel, in order to maintain good relations with Egypt and calm the conflict with the Gaza Strip. Even with Iran, which sees the planned land link as a threat - for the reasons listed above - there is a chance of easing tensions. This is despite the huge investments made by Israel, mainly in the construction of the Gulf Port in Haifa. It would be appropriate to invest in the existing airport in Haifa and expand it, instead of trying to connect the seaport and the city to the Persian Gulf. Expanding Haifa Airport and turning it into another central airport in Israel, with a thriving airport city, can have many advantages: Increasing accessibility to Haifa - a large and active airport will attract tourists, business people, and investors to the city, and strengthen its position as a leading economic and cultural center in the north of the country. Creating jobs - an airport city will lead to the development of new businesses and the creation of many jobs in various fields, such as aviation, tourism, trade, and services. Strengthening the local economy - increasing economic activity in the city will lead to increased tax revenues and contribute to the development of improved urban infrastructure and services. Sustainable development - a modern airport can be planned with environmental considerations in mind, using green technologies and reducing pollutant emissions.

The sphinx face of Egypt

Perdix - The Story of Icarus's Nephew

 

Perdix was the name of Icarus's nephew and Daedalus's apprentice. The word "Perdix" has meaning in Greek, and it has influenced words in various languages, including the international language. In Greek, the word "Perdix" (Περδίκκας) is composed of two words: "peri" (περί) meaning "around" or "concerning," and "dike" (δίκη) meaning "justice" or "judgment." Therefore, the meaning of the name "Perdix" is "he who cares for justice" or "he who surrounds justice." The name "Perdix" was common in ancient Greece.

From the Greek word "Perdix," words in various languages have been derived, such as Perdrix in French and English, where it is the name of the partridge bird, which runs on the ground but is unable to fly.

In these languages, the word "prediction" is also derived from the word "Perdix," meaning prophecy or forecasting.

In philosophy and literature, the word "prediction" is used to describe the process of predicting or forecasting future events based on existing knowledge. The word also symbolizes the search for justice and truth, the desire to understand the world and act morally.

Perdix was the son of Daedalus's sister, and he learned the art of construction and engineering from his uncle. He was a very talented young man, a brilliant student, and even invented innovative tools like the saw. Unfortunately, his story ended in tragedy: Daedalus, who felt jealous of his nephew's talent and feared that he would take the place of his beloved but slower natural son, Icarus, pushed Perdix from the roof of the temple of Athena. The goddess of wisdom took pity on Perdix and turned him into the bird named after him - the partridge. Afterward, Daedalus and Icarus fled to Crete. As punishment for the murder, Daedalus was ultimately condemned to witness the death of Icarus falling from the sky with the wings he had built for him.

Sometimes parents want their children to fulfill at all costs the dreams that they themselves failed to achieve. The father wants his son to continue the marathon race that he started but failed to finish. Now it is the son's turn to continue from that point and win. There is a significant difference between the desire for the son to fulfill the father's dreams at all costs and the desire for the son to conservatively take his place. Continuing the path at all costs reflects an expectation that the son will fulfill the father's hidden dreams and desires, which is what Daedalus sought for his natural son Icarus to fulfill. The worldview that reflects an expectation that the son will conservatively fill the role that the father filled and inherit his profession and status is similar to the role that Perdix filled. Both approaches, if not balanced, can lead to a tragic end. The story of Daedalus, Perdix, and Icarus may serve as a warning sign and illuminate the complexity of transferring legacy and expectations between generations.

The character of Perdix, in the context of the invention of the saw, teaches about the preference for systematicity and immediacy over the aspiration to fulfill dreams. Daedalus was the son of the king of Athens, and it is possible that his true desire was to be the heir to the throne. Perdix, on the other hand, represented a more practical and rational approach, aimed at achieving control and order in the world. His character can be interpreted as representing the practical and rational side of human nature. Unlike Daedalus, he is not drawn to big dreams or long-term plans. He prefers the immediate, the obvious, what can be achieved here and now. The saw, as a working tool, symbolizes dismantling and cutting. Icarus, on the other hand, following his father's desire, represents the desire for freedom and breaking boundaries. He prefers the dramatic experience, even at the cost of risk and self-destruction.

Organizations constantly face the need to make decisions, both small and large. Often, these decisions involve a dilemma between maintaining the status quo and innovating and taking risks. The characters of Perdix and Icarus are suitable to serve as different metaphors for the ways in which organizations approach the decision-making process:

Perdix represents the analytical approach, the attempt to predict the future. Organizations that operate like Perdix invest significant resources in collecting and analyzing data to make informed and rational decisions. This approach can lead to growth and innovation, but also to paralysis and slow decision-making. These organizations prefer to stay in their comfort zone and make decisions based on prior knowledge and experience. This approach can be effective in the short term, but it can lead to stagnation and lack of development in the long run.

Icarus, on the other hand, represents the innovative approach, the desire to fulfill dreams and break boundaries. Organizations that operate like Icarus encourage creativity, initiative, and risk-taking. This approach can lead to breakthroughs and the creation of significant value, but also to failures and painful falls. Like Icarus, these organizations strive for innovation and are not afraid to take risks. This approach can lead to dazzling success, but it also carries the risk of failure.

Despite their revolutionary contribution, inventions like the jet plane and the video cassette can also be seen as examples of the preference for immediacy. Similar to the saw, which allows for quick cutting and dismantling, the video cassette and the jet plane offer quick and efficient solutions to human needs. These inventions allow people to control time and space, streamline processes, and shape reality according to their wishes. Both inventions contributed to the rise of consumer culture, where the immediate satisfaction of desires becomes a central value.

Before the invention of the video cassette, watching movies was limited to screening times in cinemas or television broadcasts. The video cassette made it possible to watch movies anytime, anywhere, immediately, without dependence on an external schedule. It gave the viewer complete control over the content, with the ability to pause, rewind, and jump between different segments.

The jet plane dramatically shortened flight times and made it possible to reach distant destinations quickly and easily. It allowed people to overcome the limitations of time and space and experience the world immediately and in the present, and it significantly contributed to the processes of globalization, which are characterized, among other things, by the rapid pace of information and goods exchange.

Daedalus pushes Perdix from the roof to his death, 

and the goddess transforms him into a partridge during his fall.