Following Emily Keightley and Anna Reading in their conceptualization of 'mediated mobilities', I illuminate useful connections between media ecology and mobilities research and make the case for a combined modal medium theory. Both fields align clearly in their interest in technology and technique, media and modes, and messages and moods. A fruitful starting point in the suggested transdisciplinary theoretical and methodological framework is the exploration of the specific medium along with its materialities. In the second step, different kinds of environments and possible choreographies the medium affords ask to be considered. In a broader conceptualization, the term 'medium' refers not only to technological entities but also to subjects (tourists), practices (dancing), and places (cities), which likewise prompt different messages and moods. Ideally, research occurs on a synchronous level by following the routes of media and modes across space, and on a diachronous level by exploring the roots of media and modes across time. The objective is to promote a material medium literacy that questions capacities and agencies of forms and materials in their respective contexts.
In this article, I discuss camera drones as mobile media that help access, collect, and shape physical, digital, and social spaces. As such, consumer drones afford “communication on the fly” in their medium-specific configuration of aerial navigation, visual production, and networked communication. Drawing on in-depth interviews with drone users and auto-ethnographic drone practices, I first highlight what physical-material conditions the flying camera mediates. An analysis of what digital-intangible formations the sensor medium collects and creates follows, before I turn to the sociospatial relations the buzzing mobile interface can establish and disrupt. I show how these conditions of communication on the fly shape user practices of place-sensing and place-making. Through the lenses of mobile communication research, media ecology, and mobilities studies, I ultimately illuminate how the ambiguous aerial system helps expand our thinking of and with notions of communication on the move.
Consumer drones are entering everyday spaces with increasing frequency and impact as more and more hobbyists use the aerial tool for recreational photography and videography. In this article, I seek to expand the common reference to drones as “unmanned aircraft systems” by conceptualising the hobby drone practice more broadly as a heterogeneous, mobile assemblage of virtual and physical practices and human and non-human actors. Drawing on initial ethnographic fieldwork and interviews with drone hobbyists as well as ongoing cyber-ethnographic research on social networking sites, this article gives an overview of how the mobile drone practice needs to be situated alongside people, things, and data in physical and virtual spheres. As drone hobbyists set out to fly their devices at a given time and place, a number of relations reaching across atmospheric (e. g. weather conditions, daylight hours, GPS availability), geographic (e. g. volumetric obstacles), mobile (e. g. flight restrictions, ground traffic), and social (e. g. bystanders) dimensions demand attention. Furthermore, when drone operators share their aerial images online, visual (e. g. live stream) and cyber-social relations (e. g. comments, scrutiny) come into play, which may similarly impact the drone practice in terms of the pilot’s performance. While drone hobbysists appear to be interested in keeping a “low profile” in the physical space, many pilots manage a comparatively “high profile” in the virtual sphere with respect to the sharing of their images. Since the recreational trend brings together elements of convergence, location-awareness, and real-time feedback, I suggest approaching consumer drones as, what Scott McQuire (2016) terms, “geomedia.” Moreover, consumer drones open up different “cybermobilities” (Adey/Bevan 2006) understood as connected movement that flows through and shapes both physical and virtual spaces simultaneously. The way that many drone hobbyists appear to navigate these different environments, sometimes at the same time, has methodological implications for ethnographic research on consumer drones. Ultimately, the assemblage-perspective brings together aviation-related and socio-cultural concerns relevant in the context of consumer drones as digital communication technology and visual production tool.
When the novel coronavirus moved around the planet in early 2020, reconfiguring, slowing down, or halting everyday mobilities, another transport mode was mobilized: the pandemic drone. We highlight the increasing prominence of this aerial device by surveying international media coverage of pandemic drone use in the spring of 2020. To address a range of pandemic drone affordances and applications, we organize manifold cases under two broad categories: sensing and moving with the pandemic drone. Here we ask: what roles do, and could, drones play during the pandemic? Following the empirical examples and related mobilities research, we theorize the drone versus virus and the drone as virus. As such, the work identifies avenues for mobilities research into pandemic drones as a growing mobility domain. Moreover, in thinking through the pandemic drone, we demonstrate creative extensions of mobilities thinking that bridge biological and technological, as well as media and mobility frameworks when multiple public health and safety crises unfolded and intersected.
The imagination of automated automobility puts into question the control of the vehicle by a masculine driver and potentially disturbs feelings of safety, power, security, and freedom. Given that systems of automobility and communication technology are already gendered and racialized in particular ways, this article explores how recent “premediated” depictions of automated car technologies reconfigure and reproduce the historically gendered and raced representations, meanings, and practices of (auto)mobility. This inquiry employs a media ecological approach within the qualitative analysis of two concept car previews by Nissan and Volvo. Rather than a degendering of the driver, we suggest a multiplication of gendered and racialized technologies of mobility via several forms of hypermediation. We also explore how the autonomous car continues to evoke utopian spatial metaphors of the car as sanctuary and communicative environment while allaying fears of dystopian metaphors of the vehicle as traffic trap, virtual glass house, and algorithmic target.
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