Drony and Nils: The New Guardians of the Sky

What happens when high-tech precision meets the wisdom of nature? Join Drony and Nils in a breathtaking adventure that explores the thin line between digital progress and the heartbeat of our planet.

In this video, a modern drone and a legendary boy on a goose collide in the sky, sparking a powerful conversation about what it truly means to "see" the world. Are we just mapping the Earth, or are we protecting our home?

What’s inside:

An epic encounter between technology and tradition.

Stunning visuals of the world from above.

A deep, moving message about environmental conservation and our connection to the ground.

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

 

1. Introduction: Space as a Cognitive Template

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

On the Road Again - 3 HOUR Ambient Music | Scenic Roads View for Deep Focus & Relaxing Drive

Cruise Between Haifa and Acre

Join us for a short but fascinating sea journey, between two ancient ports, interwoven with rich history and breathtaking scenery, on the ferry ship "Carmel Princess".

 

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)