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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

The International Space Station above the Temple Mount in Jerusalem

 

The International Space Station above the Temple Mount in Jerusalem 

The International Space Station above the Temple Mount in Jerusalem

Jerusalem - Celestial City

Jerusalem and the modern transportation revolutions that shape it as part of the global city.

The development of man from an ape to the image of the Holy Land

 

Ein Bokek beach in the Dead Sea

 

Celebration in the sky: Miraculous sights of bird migration have been documented in Israel

 

The cold winter prevented the flocks of cranes and storks from migrating, and meanwhile they remained in the skies of Israel - leaving spectacular spectacles • The unique natural wonder was documented by the Bird Society of Nature Conservation who described the migration as "crazy" and warned that the sight "may not repeat itself".

Paul Virilio - Camera movement over eighty years

The properties of the element of fire guide Virilio in writing on the subject. Fire is an almost imageless element, except for three: light, heat, immediacy. The light according to Virilio is the light of the camera, the heat is the weapon, the immediacy is the decision making.

Virilio reviews how the development of the camera was due to the development of the machine gun, and in general how the development of cinematic photography was due to the consequences of various military developments. Observation and visual intelligence are the cornerstone of the military. That is why they have been at the forefront of technology since the dawn of history to the present day. As the weapons became more sophisticated and the slaughter on the battlefield increased, so did the need for more sophisticated means of observation. The observation plane became the most effective means, and in this way the battlefield, and later the whole world, also became cinematic. The war itself became a spectacular visual spectacle, due to the sophistication of the night lights and the intensity of the shells, in parallel with the sophistication of the defenses against them, trenches and fortifications, which created a sense of disconnection.

The function of the camera is first to connect the fragments of the whole that are revealed to it in separate images, into one complete image. Unlike more modern photography, which focuses on details and create resolutions. Nowadays, with the development of means of observation also for the invisible, such as infrared and radar, and other electronic means, the problem is the management of the information that comes from them, which is the most reliable, but also dense. This created the need for computing, and from there it was a short way to make automatic decisions. In this way the war became a nonstop film, and the nonstop time management replaced the management of space. There was also an obsession with stealth weapons, simulations, and electronic deception. As a result, the war became impersonal and intangible.

Because the sense of reality went wrong, so did human reason. The need to filter information under the conditions of human-machine combined activity was first discovered in World War II, with the sophistication of air defense equipment. Thus was founded the science of cybernetics, based on the concept of the system and the feedback, and in particular the negative feedback, which allows for the screening of human errors through practices.

A detached worldview was created as a result, making motion pictures more tangible than reality. Reality, which has been imprisoned and eliminated by the electromagnetic cyber world, is being revived through the worlds of guided imagery of cinema. Movies have become the telescopic rifle through which we look at war in particular, and the world at large.

In World War II, aerial observation, which has become very sophisticated, has become the most important means of feeding raw materials for films designed to portray reality with an objective eye. But the aerial observation also turned the surface into a detached object, as in a laboratory. Everything became too clear and immediate from the air, and repeated evidence was required, as in a laboratory experiment, to confirm any report. This is due to the increasing speed and mobility of the modern ground military movement. The need for a broad verbal interpretation of the outcome of air battles and bombings, has turned silent films into talking films, among viewers in the command rooms. The ability to carry out nocturnal attacks using bright lighting and the use of radar added to the sense of cinematic detachment from reality. The speed of the decision became more important than its correctness. Mobility, the hallmark of the military force, has become a series of means of communication, sent only by the commander-in-chief to any force on the ground. Statistics have become a major tool for him in decision making.

The citizens of the home front have also became partners to the reality of the command rooms. They were attentive to alarms, under the cloud of uncertainty of the bomb approaching them on the one hand, and watched at night the spectacular spectacle of the air defense spotlights and light bombs.

A similar spectacle is currently being experienced by Israeli citizens watching from a protected area in the background during clashes in Gaza, such as in Operation ''Wall Guard'', in which trails of thousands of missiles illuminated the sky. The first Lebanon war is an early and different example of the means of sight taking over the war, using the unmanned aerial vehicles to asist the airplanes.

In World War II, the culmination of the spectacle of light and fire was the atomic bomb. Immediately after the war it was replaced by the exhaust from the jet aircraft engines, and a few years later the fire emitted by the missile engines launched into space. The Cuban Missile Crisis of 1962, which required an immediate response from the United States following fears of launching missiles from the island, expressed the empowerment of the processes that connected the observation, immediacy and weapons, that are a modern incarnation of primodial fire.

In the Vietnam War, unmanned jet aerial vehicles were used for the first time, as part of a sophisticated electronic system of aiming and collecting data from various sensors. The UAVs, and the missiles launched by pilots remotely using the Send and Forget method, contributed to the disengagement of the fighters from the war. What remains is the link between the flash of light and the war. For war as a vision in Vietnam contributed the use of drugs by soldiers. War as a cinema has become a default.

In the 1970s, the advanced flight simulator was developed, which enabled full simulation of operational flight, and became almost its replacement. The flight has become a cinematic misenscene. Strategic deterrence was also practiced through electronic war games. The computerized maps, created using the aerial scan of the surface, created a new world of computer mapping, imaging and navigation. The pilots were given an overhead display, sophisticated helmets, and the ability to fly and launch through speech and eye focus. The flight became automatic. The eye and the weapon merged.

The critical space according to Paul Virilio

Global urban geographical decentralization, which is a major phenomenon nowadays, has led to the creation of huge cities and an endless, legal and illegal suburban expansion that extends across entire countries. The State of Israel, in particular, has long since became, due to its small size, population density, and lack of governance in the area of ​​regional planning, a single suburban city. This situation is changing the definition of sovereignty. It marks the end of the uniqueness of the place, which characterizes the old political stage and the historic city, and its replacement by the principle of immediacy, the unity of time, which is a politics of intensity and interactivity, of a technical set-up. Systems architecture has finally replaced the historic architecture and urbanism system.

The ubiquitous, immediate presence is being followed by the replacement of the traditional agenda, which was based on the solar cycle,  with accelerated technological agenda, realized by the electronic and digital media. The accelerated agenda is pushing past habits of populating space. The stable regional and urban planning of the space has long been replaced by a general lack of restraint, under social enslavement to accelerated technology. Accelerated technology accompanies humans on their daily journey by high-speed means of transportation, aircraft, cars and trains. These means of transportation greatly eroded the importance of the traditional urban space. Humans have become transfer players in the geographic space, where they are constantly mobile.

A third reason for the disintegration of traditional space is modern weapons, the operation of which is characterized by automatic remote decision-making at lightning speed. A heavy critical mass has been created, heralding a catastrophe of the dismantled historic city, of the traditional urbanization, as well as of the state.

Because the cohesive spatial layout was lost in favor of an invisible morphological configuration, a committed personal, interactive isolation was created. An atomization of the individual was created. In this accelerated process, the individual is awaiting return to the homeland, but has no escape from life in the suburbs.

The endless urban expansion marches along with the inner urban collapse. Both together eradicated the distinction between urban population and colonial settlement. They obscure national citizenship, the very obligation to grant significant political citizenship to populations under authority. Separating colonialism from state citizenship is completely impractical, given these urban processes. The sense of enclosure in the kibernetic space is common to all sectors.

Both sides live on the scale of individual survival. Each of the two types of citizenship has, in practice, rights and obligations that equal their status. The "colonial" citizen is exempt from military service and other civilian duties. He is able to build his private home on state land without obtaining building permits, not paying taxes, marrying several women and more. The "state" subject is obligated to obey every law, mild or severe, and the authorities take every opportunity to impose authority on him. Both types of citizens enjoy free basic social and health insurance. The economic ties between them are numerous and diverse.

The traditional extroverted international colonialism, which was characterized by the occupation of territories far from the homeland, has now become an internalized colonialism, dominated by global technology and media corporations. The traditional city collapsed into itself and crumbled. The centers of major cities around the world have become slums.

The immediate interactivity of the technologies has led to the decline in the value of the local human workforce. It gives priority to multinational monopolistic centralism. This is an ideology that denies the rule of national freedom movements. It creates opposing niches for the pursuit of self-management. It corresponds to a minimum country claim presented by economists. This claim enables the creation of technologies that do not require full employment and a real and practical presence of employees.

The pursuit of sovereignty today is a symptom of a simultaneous search for momentum. It is an acceleration that characterizes all separation movements, that exists between all contemporary urban classes, regardless of their national identity. The aspiration for political isolation is of extraordinary dimensions, and includes all sectors of the population. The anti-establishment ecological movement has long exhibited its enormous dimensions, for example in the North American survival movements. Survival movements can also serve as a touchstone for their absurd chances as a counterculture.

Today the spatial disruption has become the disruption of time. Transience has become a key concept in employment. Technical unemployment, temporary employment, dispersal of the wage burden, fragmentation of the labor system, fragmentation of residence, fragmentation of the family, and so on, have become the distinctive hallmark of life today. In addition, a culture of online social networking has been created, based on similar principles.

The traditional family and community, which were the building blocks of national identity, have disappeared. They fell apart following the modern lifestyle. This disintegration also has negative consequences for the status of citizenship, as it allows for disobedience to state institutions, such as through a tax revolt and a lack of governance. There is no real civic center, almost no valuable political center. The real weapon is first and foremost the position, array and direction of the forces present in the current systemic deployment, which tends to completely neutralize the ties between the citizens, the neighborhood unit.

As a result, the development of terrorism today is limited. Terrorism has nothing to do with substansive actions today. In fact, the various national terrorist movements have never had anything to do with opposition to the collapse of traditional urban systems. They expressed a utopian connection to the homeland, while the land of their longings had long since became a suburb. 

Traditional terrorist bodies are today  inefficient and irrelevant, in the reality of mega cities, which are spreading and collapsing simultaneously and uncontrollably. First, they arose to present a false utopian vision of the homeland, but not to deal with the urban issue as reality requires, by way of presenting an independent alternative to urban renewal. Second, they operate in a crumbling society, because the family and the traditional community, which are the source of classically organized resistance, no longer exist for all the inhabitants of the mega cities. Third, they operate in an outdated strategy, of conventional weapons, while the key today is the technological weapon, based on speed.

Military technological progress, which nowadays dictates political decision-making, is characterized by ballistic missiles. Everything is known today in very short durations, a few minutes and sometimes even less. The first response doctrine argues that in order to achieve the target, the nuclear missiles must be launched before those of the enemy have left the ground. These characteristics are similar to those of unmanned aerial vehicles, which are currently the most common weapons in the war against terror.

In order to be able to express themselves, the various political resistance bodies must adopt quick quantum thinking like lightning, based on time and not on space, and act according to commutes between center and fringe, in the territory in which they are located. Speed also requires action in attacks instead of defense. This is at the risk of losing self-identity, which is typical for quantum decision makers. They also run the risk of lack of public support, engaged in time management in a technological and informative race, and baseless political promises, in an urban environment that has lost its original identity.

The article was written based on Paul Virilio's book "The Critical Space".

Style and Content in Paul Virilio's Works

Quotes on Paul Virilio, the French Post- Modernist thinker, from the book: The Virilio Reader,  editor James Der Derian:

Preview: Reading Paul Virilio's writings is an oral reading. It is well understood only when read. This is because the word being heard has the ability, because of the time needed to be spoken, to pause on the visual image for the appropriate period of time to decipher it, while producing and creating the appropriate mental stimulus for deciphering, something which is impossible when the eye experiences constantly changing images in silent reading, or as in the everyday reality in general. In this respect, Virilio is like other Post Modern French thinkers, including Gaston Bacheler, who also create difficulties in understanding them without getting into their shoes. Thus, any reading of a summary or article of their writings is worthless. Read the source first to understand what it is all about, like reading a song.

Paul Virilio character impression was of  of a proud yet somewhat shy man, with none of  the character that marks many of the nouveaux philosophes. He was popular and received many invitations to speak, and accepted only few.  Born in 1932, as a child his first encounter with the speed of the war machine came at the outset of the Second World War, listening to the radio in his hometown of Nantes, hearing that the Germans had reached it, and then, almost simultaneously, hearing the sound of tanks outside his window. It was his first brush with Blitzkrieg. Aerial bombardments also left a deep impression, as they destroyed the city completely. He was drafted to fight in France's war with Algeria, before taking up a career practicing and teaching urban architecture. In between he learned the art of stained-glass making.  His official bios usually begin with his tenure as professor (1969), general director (1975), and president (1990) of the Ecole Spéciale d'Architecture.

Beside his contributions to the philosophy of technology and society he wrote numerous shorter pieces on film, art, architecture, and current diplomatic-military affairs.

Virilio represents the power of will, intellect, and belief over the technological predestinations of late modernity. Virilio believes that accidents play a double game, as both disaster and diagnostic of the human condition. They can serve as a powerful agnostic wrench in the works of the new techno-deities. 

Virilio's gift for original and often un anticipated transition from seemingly commonplace discussions to profound, at times transcendent, critical syntheses, requires a particular attentiveness to the interplay of the topical and rhetorical. He is able, in part, to accomplish these transitions - which might best be described as accidental syntheses – by virtue of the specific sensibilities of the French language and culture not easily reproduced in other lenguages. 

What is for some panache, others will consider indulgent. At times these unwieldy sentences appear to be nothing more than an expedient means for imparting raw information. In other instances the task of reading him involved recognizing moments in which a shift in registers occurs from what at first appears only to be informational, to what finally amounts, in a quasi haphazard fashion - by virtue of a sheer glut, a vertiginous welter of references - to one of those unique accidental syntheses. 

The task may then best be described as sensing, approximating, or even guessing in a manner which strives for a certain rapport.

Internet browsing, hypertext and other computer-related stuff, goes well with Paul Virilio's theories about the impact of speed on the western world as we know it. Climbing up across Searching in the Internet tree, one will find the complete collapse of distance accompanied by a radical attenuation of identity. Lost sight, as well as the original site of the "Person'' are characteristic to browsing. He - or she are thinned out, disappearing into the infosphere, seven degrees removed from everything. Something that one moment had been so close, seemingly so significant, had become nothing at all.

Virilio is not the first to discern this dark side to an Enlightenment which had, for the most part, contracted a new happy, progressive marriage of self, reason, and technology. Earlier warnings about the possible perils of technologies of reproduction have been powerfully and persuasively voiced. 

First on just about every list would be Walter Benjamin. Writing in Germany in the 1930s, he observed how mechanically reproduced art, especially film, would become useful for Fascism, for the rendering of politics into aesthetics, with the advantage of mobilizing the masses for war without endangering traditional property relations. In the essay, “Art in the Age of Mechanical Reproduction,” he anticipates Virilio's linking of technologies of acceleration and war in citing an early analyst and advocate of speed, the Futurist, Filippo Marinetti.

Second is Guy Debord, leader of the Situationniste movement in France in the 1950s and 1960s, author of the short but highly influential, Society of the Spectacle. Surveying the spread of spectacle, the fetishization of the image, and the rise of a consumer society, he anticipated the failure of conventional, radical, spatial politics in May of 1968 in France. 

Third, there is Michel Foucault's extra-disciplinary genealogies of politiwas techniques of control arising from pan-opticism. Displaying no anxiety of influence, Virilio takes Foucault's pan-opticon model to an extraterrestrial level of discipline and control, offering a microanalysis of how new technologies of oversight and organizations of control, innovated by strategic alliances of the military, industrial, and scienti communities, have made the crossover into civilian and political sectors create a global administration of fear. 

All of these critical thinkers and others have provided key insights into the political and social implications of the advent of new technologies of reproduction. Yet they seem out of date, stuck in place, when compared to the restless yet, in all its timefullness, strangely rustless conceit of Virilio, that the proliferation of highspeed, realtime, cinematic, global, computer networked - in a word – virtual systems of how we see, has forever changed how we know. 

In an essay which originally appeared in Le Monde Diplomatique, Virilio maps the social consequences: What lies ahead is a disturbance in the perception of what reality is; it is a shock, a mental concussion. And this outcome ought to interest us. Why? Because never has any progress in a technique been achieved without addressing its specific negative aspects. The specific negative aspect of these information super highways is precisely this loss of orientation regarding the other and with the world. It is obvious that this loss of orientation, this nonsituation, is going to usher in a deep crisis which will affect society and hence, democracy. In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.

In short, virtuality destroys reality. On its own, perhaps not a great loss; but Virilio has his eye where others do not, on the collateral damage done to the ethos of reality, the highly vulnerable public space where individuals responsively interact. For Virilio, the interconnectivity of virtual systems is not ushering in a new day for democracy but a new order of telepresence; high-paced interconnectivity is becoming, technically and literally, a substitute for the slower-paced intersubjectivity of traditional political systems. He sees the self as a kind of virtually targeted ground-zero; once voided, concentric circles of political fallout spread, leaving in the vitrified rubble.

reading Virilio will, inevitably, leave one feeling mentally disturbed, usually compounded by a bad case of vertigo, since speed is not only the subject but also the style of Virilio. In a typical Virilio sentence, which often elongates a full paragraph, the concepts can spew out. Many get recycled in later books. Some, benefiting from a new empirical settings, stand out like polished gems. But almost all of them them provide radically different takes on the social implications of technological forces, liberating their analysis from the customary.

a very important and central claim of his books is ''Critical Space'': The exo-colonialism of the industrial, imperial period has become introverted – internally, by the de-industrialization and pauperization of the urban center, and externally by the rise of an intensive transnational capital and transpolitical megalopoles. Mega cities are in   a post-industrial endo-colonization. 

Virilio was arguing from the perspective of a post-Einsteinian relativity, that not only seemed to play fast and loose with analoging, but also seemed to violate some of the basic laws of physics. The inadequacy of language to describe results and the field of quantum mechanics in general, confirmed with Virilio's point of view. The reader might have to suffer some conceptual gymnastics to get it. Yet, for every one of Virilio's oblique concepts or extravagant theoretical claims, there are others which slice right through the sludge that is served up as political analysis.

By this quality alone, there is no question that he belongs in the company of Benjamin and Adorno, Debord and Baudrillard, Foucault and Deleuze, Barthes and Derrida, for taking our understanding of the discursive relationship of technology, society, and politics to a higher plane of political as well as critical consciousness. After the millennium turn he stands out from the critical crowd, as a conceptual innovator and intellectual provocateur, the one who goes to the edge and sees beyond the traditional maps of modernity. 

Human mosaic in motion - Walk on Sukkot in Jerusalem

Human mosaic in motion: A walk on Sukkot in Jerusalem. From Jaffa Gate to the Western Wall and from there to the entertainment complex of the old train station.

Swimming Diving and Sunset in Bat Galim

 

Journey to Ikaria

A trip to Greece, from Athens Airport to the islands of Mykonos and Ikaria, with songs from the composition ''To Axion Esti''.

 

 

Paris Domes - Essay on the Binaric Space in the Parisian Sphere

Paris Domes

 

We were born and raised in cities

in them we breathe and travel

there is nothing inhuman in the city

except for the two of us sometimes

In the heart of the city flows the river Seine

like a silver snake twist and plain

It is a pair in cities everywhere

the full circle and the line of fair

Dialectics takes place

between station and road as circle and line

the square or dome are for peace of mind

and a plot unfold in the alley and boulevard

This design is a key

for everything that exists in the city

a circle or line dominate the space

as in the letters of the alphabet

A central urban circle is the dome

built on top public and state buildings

an important question for the tourist is

which dome to first visit

By the river you can see glass domes

of a huge structure in metal frame

it host important exhibitions

of art, fashion, cars and fairs

The dome most striking of them all

is the cathedral in white color

at the top of Montmartre the mount of arts 

where people for their portraits drawing lust

This dome seems to float in the sky

hovering over the greater city sphere

inside there is a huge fresco of Jesus 

spreading his arms as an airplane

The decorated dome is reminiscent

of invention older then two centuries

which gave Paris premiere

and the hot air balloon is its name

The dome express a view

of the sky is a core 

an inspiration for all mankind

regardless of religion or roots

Another magnificent and large dome

is that of the Opera Hall 

decorated with soul paintings

of people for compassion longing

In Lafayette Gallery department store

there is a huge and colorful dome

it is like in a palace or church 

and give inspiration to the place

Napoleon’s tomb dome

tower on top of all with pride 

It became a symbol 

for France in the first class

On the left bank of the River Seine

is the  impressive Pantheon Hall

with abstract dome and decorations

a shrine for French spiritual giants

Chatelet is a huge metro station

with a transparent glass ceiling

the amount of people passing through

is enormous inconceivably

Paris like any metropolis 

grow on major traffic arteries

the museums are designed the same

for tours along long hallways

The avenues are long and wide

the whole metropolis they glorify

champs Elysees sing in chord

between the Victory Gate and Concord 

Near the historic Bastille Square

there is a long and ancient aqueduct

which has become a green promenade

symbol of how modern France revitalize

Arriving to Paris is through endless tunnel

starting at the airport

it includes many parts

of terminals and transportation passages

The building which symbolize this tunnel 

is the municipal library with the tubes 

in them you ascend in escalators

to the reading halls on all floors

Once you exit the tunnel

Paris unfold in all its glory

with occupants of coffee shops

all along every vacant sidewalk

The square is like macaroon cookie

complicated and difficult to prepare

the bread baguette is like the street

popular and simple to treat and eat

Many Africans live in Paris

who are looking for original content

a reality of a futuristic experiment

based on their digital orientation

Paris is in need for urban renewal

which will contain its suburban sprawl

without it its center is decaying

and the suburbs become negative

Like photography the modern city does not 

reflect human reality correctly

visual appearance is a cheap attitude

insulting the magnitude of history

The colorful Pride Parade is an example

of how human spirit in the city prevail

a world of people participate in it

enriching presence of Paris

Paris preserve its uniqueness

with punctuation in every corner

people are striving to reach it

and it will stay in the peak

The art of local street paintings

is an excellent demonstration of creation

original expressions on the walls

are imaginary treasure maps for all

From its start the city has been personified

as expression of planning and medicine

created for a healthy environment

to embody sights and mind

Chief destination for the tourists

are the great museums

in which many walls are decorated

with Impressionist masterpieces

 

The modern city is a broad subject

foundation of society and creativity

but it is experienced as an image

and is hooked to its bright lights

Man lives in his spatial world 

far more than in his time 

and In-Out are like Yes-No

to define all that is alive