The Geometry of the Spirit: An Analysis of Spatial Thinking and Social Phenomena in the Modern Era

 

1. Introduction: Space as a Cognitive Template

Human perception of space is not merely a geometric matter; it is a profound cognitive template, a conceptual mother tongue that shapes the foundations of society, culture, and individual existence. We live, think, and dream through spatial imagery, even if we are unaware of it. This article will analyze three fundamental phenomenological concepts: Round Being, which grants us a sense of center and security; Verticality, which expresses our aspiration for growth and transcendence; and Center-Periphery relations, the power dynamics that organize social space. We will demonstrate how these principles—though seemingly philosophical and abstract—reveal themselves as a powerful framework for understanding distinct modern phenomena, ranging from skyscraper architecture and geopolitical tensions in globalization to power struggles in the digital sphere. Understanding the "Geometry of the Spirit" is not an intellectual exercise; it is the uncovering of the code that operates our social and built reality—a code hidden from our eyes precisely because it is so foundational. We begin at the most basic starting point of human existence: the circle.

2. Foundations of Existence: Round Being and the Dialectics of Inside-Outside

At its core, human being is "round." This is not a geometric assertion, but a profound phenomenological insight: we affirm our existence from an inner center, a core sense that separates us from the world. The perfect model for this "round life" is found not in man-made works, but in nature—in the form of the bird and the nest it weaves. The bird, in its spherical and concentrated form, is an embodiment of a complete cosmic being, protected from all sides. The round nest it builds is more than physical shelter; it is a material reflection of wholeness, domesticity, and protection. The nest is the ultimate home, the secure point of departure.

From this foundational pattern emerges the first and most important existential dialectic: the distinction between "Inside" and "Outside." The contour of the circle is not just a physical boundary, but a constitutive cognitive distinction. The "Inside" is the space of "Yes"—the zone of self-affirmation, security, and belonging. The "Outside," conversely, is the space of "No"—the alien, unfamiliar, and threatening world. We construct our identity out of this tension, from the knowledge that we possess a protected center from which we can act. Yet, while the circle provides security and a center, an additional dimension is required to allow for movement, development, and aspiration—the dimension of verticality.

3. The Vertical Aspiration: From Circular Security to Sovereign Observation

If round being provides us with sanctuary, verticality provides us with movement, growth, and ambition. In the architecture of the soul, verticality is embodied not in a rigid straight line, but in a spiral. This wondrous form perfectly combines the cyclical security of the circle with the human drive to progress upward. It allows for ascent and development without losing the connection to the secure point of origin. Here, architecture transforms from material engineering into the geometry of the spirit: man, much like the bird in its nest, fortifies a protected round world around himself, yet from that same spherical core, he climbs the vertical axis toward knowledge and consciousness.

The dialectic between horizontal security and vertical aspiration reaches its peak at the highest point—atop a tower or a spire. At this point, a cognitive transformation occurs. The "Inside" and "Outside" are no longer separated by walls but meet in full exposure to the cosmos. This is not a blurring of boundaries, but transcendence. The closed, protected being opens up, and the personal center shifts from a point of refuge to a sovereign vantage point, allowing the individual to observe the entire world from a position of control they have fashioned for themselves. This transition, from closed existence to an open gaze, parallels a broader perceptual shift characterizing human thought in the modern age.

4. The Perceptual Shift: From a Verbal World to a Visual World

The current era is characterized by a transition from the hegemony of verbal, conceptual, and linear thinking to the hegemony of visual and cinematic thinking. Thinkers such as Arnheim argued that there is no fundamental difference between verbal and visual thought, yet our understanding of the world is primarily composed of pure visual perceptions, rendering the role of language secondary in establishing that understanding. We are witnessing a dramatic reversal in the historical relationship between word and image. While in the past the image was a rare commodity and words were in abundance—allowing a whole world of interpretation to be built around a single image—today the situation is reversed. We are flooded with an infinite abundance of images, while the words that give them meaning have become rare and precious. This incessant visual overload has become the central feature upon which contemporary consciousness is based, to the extent that our worldview has become cinematic—one where the filmed world is often perceived as more real than reality itself. This visual dominance is not merely an aesthetic matter; it directly affects how we understand and organize the dynamic forces in social space: center-periphery relations.

5. The Dynamics of Power: Center-Periphery Relations and Motivating Forces

Center-periphery relations are a foundational component of human thought, the kinetic grammar of social organization. Originally, they may be expressed verbally and linearly—for example, in texts of "law" and "order" that establish a hierarchical sequence. However, in the visual era, these relations are increasingly expressed through "control by design." Every form of spatial existence, from a private home to a global empire, maintains an internal tension between center and periphery. This tension is driven by two opposing forces, familiar to us from the world of physics:

• Centripetal Force: A movement from the periphery inward, toward the center. This is the unifying force. Historically, it was expressed in human association during the Neolithic period, leading to the establishment of permanent settlements, exchange economies, and the founding of a shared language based on fixed structures. This is the movement that establishes community.

• Centrifugal Force: A movement from the center outward, toward the periphery. This is the distributing and expanding force. It began to gain momentum with the rise of cities and written language and became dominant in Ancient Greece. This is the movement that establishes empire, spreading an idea or a culture.

It is essential to understand that these are not absolute historical epochs; the rise of the centrifugal force did not negate the centripetal force, but rather integrated with it, creating a complex dynamic of forces acting in parallel. This process, which combines both, is the essence of "Spatiality": a centripetal movement that gathers flows of people, goods, and ideas to create a "central junction," which in response radiates centrifugal movement outward, channeling it in all directions. This dynamic is the hidden engine driving many contemporary social phenomena.

6. Contemporary Expressions: Architecture, Globalization, and Digital Space

Now, we shall apply the theoretical framework we have developed to analyze three central phenomena in the modern world, showing how fundamental spatial concepts reveal their internal dynamics.

• Verticality as an Expression of Centrality: Modern architecture, led by the skyscraper, is the most distinct visual expression of center-periphery relations. The vertical axis is not just a physical dimension, but a differential of value: the guiding principle is that "whatever is higher is considered more important," and therefore more central and prestigious. This is the dialectic of the "Sublime"—the aspiration toward the "above and beyond," where the vertical axis becomes the concentration point for elevated human values: power, achievement, faith, and ambition. The skyscraper is not merely a symbol of real estate value; it is a modern temple to the sublime. This imagery is realized in the human geography of the "City Center," where the tallest buildings soar. Similarly, the modern airport serves as a visual expression of the vertical conquest of the air. It is not just a transportation hub, but a staged cinematic landscape, a vision of the city of the future.

• Globalization and Political Tensions: Complex global processes are nothing more than the expression of the struggle between centripetal and centrifugal forces. Globalization itself is a result of these deep historical forces. Current political tensions can be analyzed through this lens: the social polarization in the United States, the European Union's deliberations over its future path, or China's ambition to integrate Hong Kong—all of these are expressions of the struggle between central forces attempting to unify and control, and peripheral forces striving for autonomy or a different direction.

• Social Arenas: The center-periphery dynamic also operates within the microcosm of daily social arenas:

  • The Education System: The classroom is an arena of constant confrontation between the teacher's aspirations (centripetal force), seeking to instill uniform knowledge and concentrate attention around themselves, and the students' aspirations (centrifugal force), seeking to express themselves and break the frame.

  • The Internet: Digital space is a clear battlefield between the massive centripetal forces of giant corporations, striving to centralize information and traffic within their platforms, and the centrifugal forces of individuals and small groups using the web to spread ideas and organize independently.

7. Conclusion: A New Look at Built and Social Space

Round being, vertical aspiration, and center-periphery dynamics are not abstract philosophical concepts. They are tangible shaping forces, foundational templates etched into human consciousness and expressed in every aspect of our lives. This analysis has shown how this "Geometry of the Spirit" provides unique and powerful tools for interpreting contemporary phenomena—from the way we build our cities and design our landscapes to the way we communicate, educate, and organize socially and politically. Understanding these spatial codes allows us to look anew at the familiar world and discover the hidden forces that drive it. Ultimately, the physical space we build around us is nothing but a reflection of the mental space within us.

The Evolution of Music and Cinematic Soundtracks

During the second half of the 20th century, music underwent a dynamic evolution that profoundly influenced its styles, techniques, and broader cultural landscape. 

In the 1950s, classical pop dominated with catchy, simple melodies that captivated a wide audience, offering an accessible and delightful listening experience. 

In the 1960s and 1970s, rock 'n' roll emerged, bringing vibrant energy, bold expressions of personal identity, and innovative elements like electric guitars, becoming a symbol of counterculture and social movements of the era. 

In the 1980s and 1990s, hip-hop rose to prominence, blending unique rhythms, rap, and socio-political themes, serving as a leading voice for a diverse generation and a platform for expressing struggles and life experiences. 

By the early 2000s, innovative ambient music emerged, breaking traditional structures with electronic and experimental elements, emphasizing emotional and aesthetic experiences while offering creative freedom for deep, unrestrained expression, While eliminating the musical keys.

Concurrently, cinematic soundtracks evolved, particularly in science fiction films depicting the futuristic city as a central human space integrating history, society, and art. The city, transitioning from a spontaneous human image to sophisticated planning that incorporates technology and anatomical models, is expected to become a dynamic organism in the future, merging human and artificial systems. 

Film soundtracks adapted to these changes: from complex classical music in the early 20th century, through aggressive sounds reflecting urban density, to today’s quiet ambient music, which expresses environmental awareness.

Three science fiction films—"Metropolis" (1927), "Blade Runner" (1982), and "Ghost in the Shell" (2017)—reflect this evolution through similar narrative structures. They share similar narratives: a beautiful and rebellious artificial woman, created by the elite but rebelling against it alongside the lower class, with a moral conflict and love between a human man and an artificial woman, against the backdrop of a central urban setting that divides the upper and lower city.

In "Metropolis", rich symphonic music accompanies the silent film, substituting for dialogue and effects while mirroring machinery and drama. 

In "Blade Runner", a diverse soundtrack combines synthesizers, blues, and street noises, with silence as a backdrop to dialogues, creating a somber atmosphere. 

In "Ghost in the Shell", minimalist sounds, nearly devoid of melody, blend with harmonious visual settings, highlighting the cyborg’s superiority, for whom traditional music is deemed unnecessary and even dangerous.

The Visual Revolution and the Film "Inglourious Basterds"

Human history is replete with turning points that have altered the course of culture and thought. One of these, the invention of the printing press, is considered a significant milestone in the dissemination of knowledge and ideas. However, in the modern era, we are witnessing an even broader cognitive revolution – the shift from verbal thinking to visual thinking.

For thousands of years, human culture was based on verbal communication, both written and oral. The printing press, which was a direct continuation of handwriting, only amplified the use of words as a tool for conveying information. However, modern technology, with the development of visual media such as photography, cinema, television, digital platforms, and smartphones, has brought about a dramatic change in the way we perceive the world and process information.

Visual thinking, in contrast to verbal thinking, is based on images, videos, and other graphic representations. It requires us to develop new skills, such as visual analysis, interpretation of images, and synthesis of large amounts of information simultaneously. This transition requires us to cope with enormous quantities of visual data and develop an efficient ability to sort and filter.

In the visual world, the story takes on greater significance. Images and videos tell stories instantly and captivatingly, arousing intense emotions and reactions. The ability to understand, create, and consume visual stories correctly becomes an essential skill in the modern era, as it enables us to convey messages effectively and impactfully. Content is still king in this era.

The shift to visual thinking affects all areas of life, from education and communication to art and politics. It changes the way we learn, communicate, and consume information, and requires the adaptation of social and educational systems to the new reality. The visual revolution is not just a technological change, but a profound cognitive shift. It shapes the way we think, communicate, and behave, and requires us to develop new skills and creative ways of thinking.

Quentin Tarantino's 2009 film "Inglourious Basterds" is a cinematic work that offers a unique and fascinating interpretation of World War II. Beyond the sweeping revenge plot and its stunning visual style, the film stands out particularly for the way it integrates film culture as an integral part of the historical narrative.

Tarantino does not settle for an accurate reconstruction of the period setting, but delves deep into the consciousness of the time and reveals the central place of cinema in everyday life. Cinema is presented as a powerful force, capable of shaping consciousness, influencing emotions, and even leading to historical changes.

The film deals with a group of American soldiers of Jewish origin, sent to fight the Nazis behind enemy lines, and they do so without sentimentality, similar to the Nazis' modus operandi against the Jews. The main antagonist of the film, who is a prominent figure in it, is a Nazi officer specializing in the search for hidden Jews, and he does so with ruthless professionalism.

The plot develops when the group of fighters is sent to blow up a Parisian cinema, where the premiere of a German film is about to take place, in the presence of all the heads of the Nazi regime.

The film presents the way the Nazis used cinema as a powerful propaganda tool, aiming to control public consciousness and spread their ideology. Tarantino uses cinematic scenes from Nazi films to illustrate the mesmerizing effect of cinema on viewers.

One of the central locations in the film is the projection room, which serves as an arena for the gathering of key characters and the planning of dramatic moves. Tarantino emphasizes the mystical and mysterious atmosphere of the projection room, which symbolizes the power of cinema as a tool for disseminating ideas and carrying out manipulations.

The film culminates in a daring operation in which the cinema manager, a young Jewish woman whose family was murdered, sets fire to the cinema using old film reels made of celluloid. In doing so, Tarantino illustrates the power of cinema, and of visual thinking in general, to change reality.

The integration of dominant visual thinking, and especially watching cinema, has far-reaching mental implications. The archetype of the modern viewer, faced with a constant stream of images, creates a defense mechanism against the threat of uprooting due to the currents and contradictions in the external environment, just as it happens with living in a city. People with a developed visual orientation and those less exposed to it have always been considered different. The brains of people accustomed to increased visual thinking and watching cinema, compared to those less so, work differently. There is a fundamental difference in the activity of certain areas in the brains of people who live in a world saturated with visual images compared to the brains of people who grew up in a less visual environment or live in one. The visual brain is more alert to visual stimuli, may be more stressed due to the overload, and has increased activity in areas related to rapid visual information processing and response to changes. On the other hand, reduced exposure to visual stimuli may impair another essential component of visual thinking and cinema, which is visual innovation and creativity. The biggest task of visual content creators and educational systems is to cultivate visual thinking that protects the brain from the negative effects of visual overload, but also encourages it towards creativity and innovation in the visual field.

There is probably no mental phenomenon more characteristic of increased visual thinking and cinema viewing than indifference. This phenomenon is primarily a result of the conflicting, rapidly changing, and compressed visual neural stimuli, from which probably also stems the abstract and detached intellectualism, similar to the intellectualism characteristic of life in a big city. Formally, the relationship of people who consume large amounts of visual content to one another can be described as one of reserve and indifference. If the constant contact with countless visual images produced internal reactions similar to those of a small-town resident, where a person knows almost everything they see and develops a positive attitude towards almost every stimulus, they would reach an indescribable mental state. Individuals, freed from the shackles that history has imposed on them, now seek to differentiate themselves also through a unique taste in consuming visual media. The subject of human values is no longer the universal and moral human inherent in every single individual, but rather their utilitarian uniqueness and the inability to replace them cheaply with another, as also expressed in the search for uniqueness within the urban space. The internal and external history of our time is full of struggles and entanglements of these two types of individualism, alternating with each other.