Abstract
ABSTRACT Militarized perception is always leaking into public culture, from the aerial prospect of balloon flight to the soldier’s helmet camera. Increasingly, the mode of militarized perception most powerfully emergent in Anglo-American everyday life is that of the militarized drone: flattened, loitering, zooming, networked. This mode of perception is enacted by a logistic assemblage that is military in origin, one in which remote sensors, signal flows and autonomous processes work across complex human-machine networks. The paper tracks this new form of everyday militarism across four scenes of cultural life: the Predator on display in the Smithsonian Air & Space Museum; the DJI Spark consumer selfie drone; recreational use of drones in Sydney, Australia; and the activist deployment of drones as witnesses in Hagit Keysar’s artwork ‘No Fly Zone: Jerusalem.’ In doing so, the paper traces the forms and dynamics of drone perception to argue that an emergent ‘drone culture’ can be seen in the manifestation in everyday life of modes of perception distinct to the remote sensing apparatus of the militarized drone.
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