Abstract
This article provides a historiographical and epistemological reconstruction of the visuality of the contemporary drone. It will be argued that, despite an evident technical caesura between analogue images of early aerial reconnaissance in aviation (since 1911) and the digital image production of recent unmanned aerial vehicles (especially of the armed drone) since 2001, both aerial aesthetics are deeply rooted in modernity. Both are connected through a visual culture that emerged around 1910 and can be characterized with its combination of aviation and photography, a Gestalt-informed epistemology of military intelligence and gouvernemental aesthetics of space relying on ideas such as the “grid”, “resolution” and the military device of the “sight”.
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