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.

Holocaust Survivors as Superheroes: A New Perspective on Heroism and Survival

The Holocaust, a dark and incomprehensible period in human history, left deep scars on the soul of the Jewish people. The stories of the survivors, those who endured the inferno, are a living testimony to evil, suffering, and loss, but also to extraordinary human heroism. Often, the prevailing image of the Holocaust survivor in popular culture tends to present a broken, victimized figure, or even a collaborator – an image ingrained, in part, through the stories of the Kapos. However, there exists another perspective, important and inspiring, which views Holocaust survivors as superheroes – men and women who displayed resourcefulness, courage, extraordinary physical and mental strength, and refused to surrender to the Nazi extermination machine.

Holocaust survivors demonstrated heroism in an impossible reality. Among others, the story of Golda Zandman, appearing in the book "Golda, Heroine of the Holocaust," presents a vivid example of a Holocaust survivor as a superhero. "If necessary, be strong as iron. If necessary, be soft as butter" – these words, which accompany Golda, summarize the mental flexibility and adaptive ability required for survival under extreme conditions. Golda, a vibrant young Jewish girl, is drawn from her warm home into the cruel reality of labor and concentration camps. But she refuses to be a passive victim. She demonstrates resourcefulness as a shrewd trader and a daring smuggler, outsmarts the authorities, forges complex relationships, and faces death with open eyes. Her story is not merely a documentation of loss and destruction, but a story of determination, of a daily struggle for survival, and of the triumph of the human spirit. Her heroism lies not in supernatural powers, but in her inner strength, her courage, and her refusal to lose her human dignity even in the face of horror.

Interesting parallels can be found between the stories of Holocaust survivors and the narratives of superheroes familiar from the world of comics and cinema. Many superheroes, such as Spider-Man, Batman, or Magneto (himself a Holocaust survivor), cope with trauma, loss, and a hostile environment, developing exceptional abilities, physical and mental, to survive and protect others. They operate in complex urban spaces, demonstrating daring and adaptability.

Golda's story points to the importance of the sense of touch and the intense physical experience in the world of superheroes – they feel the world around them in an amplified way, through direct contact with the environment, with the blows and explosions. A certain analogy can be seen with the experience of the survivors, whose bodies and souls experienced the harsh physical reality of the camps – the hunger, the cold, the forced labor, the violence – in a direct and extreme manner. Physical and mental survival in the camps required a sharpening of the senses, constant vigilance, and a rapid response to dangers, similar to Spider-Man's "Spider-Sense" or Daredevil's abilities.

Throughout history, figures of heroes and myths have provided frameworks for coping with crises and changes. Figures like Samson the Hero, medieval knights, fighter pilots, or space pioneers served as focal points for admiration and imitation. Modern superheroes, whether in comics or cinema ("Star Wars," the Marvel Universe), fulfill this basic human need. They offer narratives of overcoming obstacles, the struggle between good and evil, and the defense of values.

In the context of the Holocaust, the image of the survivor as a superhero allows us to connect with the stories of survival not only through identification with the suffering but also through a deep appreciation for the mental and physical strength required to survive. It is a narrative that allows rising from the ashes, filling the void left by the Holocaust, and lighting a "memorial candle" composed of personal and collective stories of heroism. Instead of focusing only on the victim image or the complex questions of collaboration, viewing survivors as superheroes sheds new light on the boundaries of humanity, femininity, and heroism, offering an inspiring model of hope and resilience.

The stories of Holocaust survivors are much more than historical documentation of atrocities. They hold within them extraordinary tales of heroism, of ordinary people who became heroes against their will. Like the superheroes from the world of fantasy, they faced inconceivable evil, displayed resourcefulness and tremendous inner strength, and fought for their lives and their human dignity. Adopting the perspective that views survivors as superheroes does not diminish the severity of the suffering and loss, but rather empowers the human spirit, emphasizes the power of survival, and presents a model of heroism and revival for us and for future generations. Stories like that of Golda Zandman remind us of the human potential inherent within us, even in the darkest moments, and of the importance of memory as a shaping and strengthening force.

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)

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.

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.

Subtitles in Cinema

 

Two technological inventions of the 20th century, namely radio and cinema, revolutionized the way people consume information, communicate with each other, and develop literacy skills. It can be argued that the impact was multi-layered, encompassing both oral skills (speaking and listening) and reading abilities.

Radio, as a communication tool based on sound, significantly contributed to the development of oral skills. It created an "auditory richness" by exposing the general public to a wide range of voices, accents, and speaking styles. Announcers, actors, politicians, and commentators became role models, and listening to radio broadcasts became a popular pastime that indirectly contributed to the improvement of oral expression. People could learn new words, improve their diction, and be exposed to persuasive rhetoric, all without reading a written text. Radio, therefore, served as a source of oral inspiration for all of humanity, making knowledge and entertainment equally accessible to everyone, regardless of their reading ability.

With the advent of talking pictures, the impact on oral skills intensified. Viewers not only listened to the characters but also watched them, absorbing their body language, facial expressions, and intonations, which enriched the auditory experience and made the role models more complex and convincing. Talking pictures created stars who became cultural icons, and the way they spoke, behaved, and dressed greatly influenced the audience, further contributing to the development of language and interpersonal communication.

However, the contribution of cinema to the development of literacy did not stop at the development of oral skills but also extended to reading abilities. Even in the silent film era, the intertitles that were inserted between scenes played an important role in understanding the plot. They forced viewers to read, thereby contributing to the improvement of reading skills, even if on a basic level. The introduction of talking pictures did not negate the importance of subtitles but rather enhanced it. Subtitles, which have become an integral part of the cinematic experience, allowed viewers to connect the sound with the written word, thereby strengthening the connection between the spoken and written language.

In the modern era, it can be argued that subtitles in films and television series have, to some extent, become a substitute for traditional reading. The visual power of cinema allows it to dispense with lengthy verbal descriptions and convey a great deal of information through image, sound, and pace. Subtitles, in this case, complement the visual experience and provide the information necessary to understand the plot and dialogues. For many viewers, especially young people, reading subtitles has become the preferred way to consume narrative content, as it combines visual and auditory stimulation with reading, making the experience more dynamic and engaging.

The inventions of radio and cinema greatly contributed to the development of literacy skills, both oral and written. They created role models, made knowledge and culture accessible, and provided a new platform for learning and language development. In the digital age, where we are inundated with visual content, the importance of subtitles is only growing, and they may become one of the main tools for preserving and developing reading skills in future generations.

Light and Flight

 

The word "light" holds a fascinating duality, encompassing both "illumination" and "lightness." An additional layer in English, "flight," adds a captivating dimension of escape, ascension, and soaring, much like the act of flying. This connection between light, lightness, and flight recurs throughout history in numerous works and can also be found in the works of great thinkers.

For instance, Albert Einstein incorporated "light" into his famous equation, E=MC², thereby linking the immense energy contained within matter to the speed of light. His theory of relativity demonstrates how movement at high velocities, approaching the speed of light, affects the perception of time and space, creating a sense of expansion and elevation, a kind of "flight" into new realms of cosmic understanding.

Similar to Einstein, the Greek poet Odysseus Elytis connected the external light, the bright sunlight of Greece, with the lightness of the soul and its liberation from the heavy mass of the oppressive past. His work is akin to a journey, a poetic "flight," in which a person rises above the shadows of the past, shakes off the weight of burdens, and ascends toward light and freedom. His poems are filled with images of light, sea, sky, and birds, symbolizing the aspiration for spiritual elevation, to escape ("flight") from the confining reality into the expanses of imagination and creation.

The connection between light, lightness, and "flight" is also distinctly expressed in the art of cinema. Cinema, as an art based on light and shadow, uses lighting to create atmosphere, emphasize emotions, and tell a story. Moreover, camera movement, which often simulates the motion of flight or hovering, contributes to the sense of "flight," of detachment from the ground and from everyday reality. Many films use visual imagery of flight, either explicitly, such as in scenes of airplane or spaceship flights, or implicitly, through high-angle shots, flowing camera movements, and the use of special effects that create an illusion of levitation. In many films, physical or metaphorical flight serves as a means of expressing the desire for freedom, spiritual elevation, and the crossing of boundaries.

The connection between "light" in its various meanings – illumination, lightness, and "flight" (escape, aviation) – highlights the link between the physical world, the world of matter and energy, and the spiritual world, the world of emotion and imagination. Sunlight, as well as cinematic light, as a symbol of knowledge, truth, and freedom, enables "flight," the spiritual elevation and liberation from all that binds us, whether it be physical or emotional weight.

The Airplane - Dream and Reality

The Dream of Flight

The concept and aspiration of flight have captivated humanity since the dawn of history. Bound to the earth, humans gazed enviously at the birds soaring above, dreaming of the day they could join them and conquer the skies. Numerous attempts were made to imitate the flight of birds, from mythological tales like Icarus and Daedalus to the daring experiments of inventors throughout the ages. Yet, despite these earnest endeavors, most attempts ended in disappointment and failure. Successes were few, flights were short and unstable, and the dream of safe and efficient flight seemed further away than ever. Humanity realized that conquering the skies required a significant technological breakthrough.

False Dawns

This breakthrough arrived in the form of three remarkable inventions that promised to revolutionize the world of aviation: the hot air balloon, the airship, and the glider. Each sparked great excitement and curiosity, and it seemed that humanity had finally found the way to conquer the air. However, despite their initial promise, within a relatively short period of a few decades, these three inventions proved unsuitable for realizing the full vision. The hot air balloon was at the mercy of the winds, the airship was cumbersome and vulnerable, and the glider had limited control over its flight path. These inventions became resounding failures, leaving humanity disappointed that the technology capable of carrying masses of people into the skies had not yet been found.

The Wright Brothers' Triumph

But then, with the invention of the airplane by the Wright brothers at the beginning of the 20th century, the picture changed completely. The airplane, with its innovative design, efficient wings, and sophisticated control system, finally proved that the skies could be conquered safely and efficiently. It ushered in a new era of possibilities, revolutionizing transportation, commerce, military, and culture. Unlike the failed flying machines that preceded it, the airplane has proven to be a promising invention for over a century, continuing to evolve at a dizzying pace, from piston-engine aircraft to jet aircraft and sophisticated unmanned aerial vehicles.

Taking Flight and Expanding Minds

The invention of the airplane not only fulfilled humanity's dream of flight but also opened up new possibilities for spatial thinking and perception of the world. The airplane's complete control over movement in the air fulfilled another long-held dream of humanity: the unlimited expression of perspective, the three-dimensional thinking that deepens our understanding of spatial relationships, a cognitive tool of the highest order. The ability to move freely in three-dimensional space changed the way we perceive the world and the relationships between objects within it.

Dreamers and Doers

Throughout the development of modern aviation, those involved were divided into two types: dreamers and doers. The dreamers envisioned fantastic visions of effortlessly conquering the air, imagining floating cities and fantastical flying machines. But alongside the dreamers were the doers, the engineers, inventors, and pilots who progressed step by step, experiencing failures and losses along the way. Progress in aviation was the result of a combination of bold vision and meticulous work, of wild imagination and complex engineering reality.

Aviation as Ideology or Tool

In parallel to technological development, two social and political approaches to the idea of aviation emerged: aviation as consciousness and aviation as awareness. Societies that championed aviation as consciousness saw it as a dreamlike vision, capable of uniting their underdeveloped nations and propelling them to the forefront of modernity. Aviation served as an ideological tool for shaping national consciousness and fostering pride and patriotism. Societies that championed aviation as awareness saw it merely as a means to advance the individual and society, carefully avoiding its transformation into an ideological tool. Aviation was perceived as a useful tool for transportation, commerce, and research, but not as a defining factor of national identity. This difference in approach highlighted the distinction between dictatorships and democracies in the 20th century, with dictatorships advocating aviation as consciousness and democracies advocating aviation as awareness.

Anthropomorphism:

Aviation's Third Way

Between the world of dreamers and the world of doers, between aviation as consciousness or awareness, exists a third perspective that allows us to understand the significance of aviation and its unique place in the human experience: the perspective of anthropomorphism. While dreamers aspire to transcend the limitations of physical reality and fly on the wings of imagination, and doers focus on realizing dreams through technology and development, anthropomorphism bridges the two worlds. It allows us to perceive the airplane not just as a flying machine, but as an entity with human qualities, a kind of "flying human" that fulfills the dreams of both worlds.

Holistic Experience

Aviation, as perceived from this perspective, is not just physical movement through space, but also a journey of consciousness and spirit. It allows us to experience the world from a new perspective, to rise above the limitations of everyday life, and to feel a sense of freedom and liberation. The anthropomorphism of the airplane allows us to understand aviation as a holistic experience, combining dream and reality, consciousness and action, and the human being with the world. It gives a deeper meaning to the experience of flight, transforming it into a meaningful human journey.

Enduring Power of Anthropomorphism

Anthropomorphism is a powerful tool that enables us to understand human history. Through it, we perceive historical events as the result of human actions, decisions, and their consequences. This approach allows us to understand motives, identify with the past, take responsibility, prevent dehumanization, and understand history as a human creation. Anthropomorphism, despite being an ancient source, remains important today, especially in light of the increasing emphasis on personal development at the expense of social development, which leads to a growing need for people to rely on their immediate tangible environment and seek meaning and support in sources like anthropomorphism, as a response to the social disconnect created by technology.

The Airplane as Icarus

The airplane, with its nose resembling a head, wings spread like arms, and a rear body and tail simulating legs, becomes an anthropomorphism of the human body. This image, echoing "Jesus on the cross" or "a man spreading his wings" against the backdrop of the clouds – a central source of inspiration for anthropomorphism – evokes deep religious and spiritual associations. It reinforces the idea that aviation, as an intense and personal experience reminiscent of spiritual flight, may contribute to the rise of extremist regimes. However, it is important to remember that the rise of such regimes is influenced by many other factors, and aviation and the anthropomorphism of the airplane are only one contributing factor to this phenomenon, alongside other social, economic, and political factors.

Shared Wings of Aviation and Cinema

Feature films, like airplanes, are a clear expression of anthropomorphism. Both are technologies that allow us to experience the world in a new and powerful way, and both use anthropomorphism to create a deeper emotional experience. The airplane, in its human-like form, evokes feelings of freedom and liberation reminiscent of spiritual experiences. Cinema breathes life into characters and stories through a variety of techniques, creating imaginary worlds that feel real. Both create an illusion of reality, use movement, evoke emotions, and enhance the human experience. Cinema, in addition, turns human stories into a collective dream and uses symbols and metaphors to convey complex messages and ideas.

The Domino Effect That Led to World War I

Only ten years and 226 days separated the Wright brothers' first flight in 1903 from the outbreak of World War I, yet the connection between them runs deeper than expected. This decade, which witnessed the birth of the aviation age, was saturated with rising geopolitical tensions, extreme nationalism, arms races, and imperialist competition. These factors, coupled with a complex alliance system and recurring international crises, created fertile ground for the eruption of a global war. The assassination of the Austrian Archduke was merely the spark that ignited the flames of war already smoldering beneath the surface. The Balkan Wars, which preceded World War I by a few years, further exacerbated tensions, influenced the alliance system, and served as a "dress rehearsal" for the great conflict.

World War I erupted as a result of a "domino effect," a chain reaction of events where each event triggers the next, similar to dominoes falling one after another. Both the invention of the airplane and the invention of cinema were based on the understanding of continuous motion, and can be seen as expressions of the domino effect. In both cases, a chain of small, sequential events creates a significant outcome: the airplane depends on constant motion in the air for flight, and in cinema, a sequence of still images creates the illusion of motion and life on screen.

The domino effect that led to World War I was exacerbated by the invention of the airplane, which heightened political instability and impacted the global balance of power. The airplane influenced the military aspect, increased the potential for escalation, and altered the balance of power. Similar to the airplane, cinema also contributed to the domino effect: it reinforced nationalism and shaped public perception of war. Furthermore, both the airplane and cinema, which emerged and developed in the late 19th and early 20th centuries, stood in stark contrast to the prevailing spirit of the era dominated by absolute monarchies. These regimes emphasized obedience, conformity, and centralized control, while the airplane and cinema symbolized freedom, independence, and critical thinking.

This connection between technology, consciousness, and war is also emphasized in Giulio Douhet's book "The Command of the Air," which predicted the central role of air power in future wars. The inspiration for writing the book stemmed from the author's participation in the Italo-Turkish War of 1911-1912. During this war, the author witnessed firsthand the aerial bombings carried out by Italian forces, a first in history. They profoundly influenced his perception of the future of warfare, which he envisioned as based on the subjugation of the civilian rear in cities through strategic bombing.

Today's drone and missile attacks, coupled with the growing use of the internet, are not merely a continuation of Douhet's theory, but also a contemporary manifestation of the enduring influence of the airplane and cinema on the nature of warfare. They underscore how technology and visual media are employed to achieve military and political objectives, and the complex challenges confronting societies grappling with these threats.