Drone Poetics

Brady, Andrea

doi:10.3898/newf:89/90.07.2016

Cited by 5 publications

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“…as Amy Kaplan (2002)-has much to contribute to the project of a feminist surveillance studies. While scholars including Andrea Brady (2017) and more recently Tyne Daile Sumner (2021) have addressed the politics of visual surveillance through poetic forms, too often when literary texts do receive notice from those with an interest in the study of cultures of surveillance, attention is reserved for the genres of science fiction or speculative fiction. In addition to this too-narrow generic focus, readers untrained in methodologies particular to the study of literature tend to categorize texts as either "utopian" or "dystopian" and read them extractively for lessons we might take from the fictional scenarios they put forth.…”

Section: Molly Geidel the University Of Manchester United Kingdom And...mentioning

confidence: 99%

Introduction

Geidel¹,

Schnepf

2022

RIAS

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The recent intensification of gendered surveillance in the United States underscores how surveillance technologies continue to abet criminalization domestically while enabling the US to renew orientalist narratives of rescue with respect to its military interventions abroad. Building on the 2015 Feminist Surveillance Studies volume edited by Rachel E. Dubrofsky and Shoshana Amielle Magnet, this issue seeks to make a number of new interventions in the study of surveillance and gender. First, it calls for the incorporation of scholarship that approaches the US-led war on terrorism through the lens of gender and sexuality to develop a more refined understanding of how surveillance practices and contemporary imperial imaginaries overlap and inform one another. Second, it reconsiders the frame of carceral feminism by unpacking some of the assumptions around “carcerality” and “feminism.” Finally, it builds on the premise that existing black feminist scholarship has for some time theorized surveillance’s relation to gendered oppression. To do so, it considers how critical framings of hypervisibility and invisibility help us make sense of the racialized, gendered forms of surveillance deployed across the decades: from the mid-twentieth-century national security state to the contemporary neoliberal postfeminist regimes of the twenty-first century.

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Section: Molly Geidel the University Of Manchester United Kingdom And...mentioning

confidence: 99%

Introduction

Geidel¹,

Schnepf

2022

RIAS

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“…73 Hochberg's work has even inspired a reassessment of the visual technologies of surveillance that have been developed under different circumstances in recent years: the highly controversial use of drones in the prosecution of war in Afghanistan (and other countries), for example, is now being interrogated with recourse to such an approach, as scholars unpack how such visual technologies shape the very way in which conflict is written about. 74 The structure of the book The innovations developed in each of these disparate 'occupation literatures' remain entirely valid. Indeed, they inform many of the chapters in this book.…”

Section: New Questions About Old Ideasmentioning

confidence: 99%

Introduction: Visual histories of occupation(s)

Taylor¹

2021

Visual Histories of Occupation

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I thank all scholars who took part in the Cultures of Occupation Conference, held at the University of Nottingham in January 2018. Their comments and suggestions, especially during the final discussions, helped to shape this Introduction.of the main exponents of such an approach, suggests: 'Visual history … considers images in a wider sense both as sources as well as independent artifacts of historiographical research and likewise looks at the visuality of history and the historicity of the visual. ' 6 Responding to the wider 'visual turn' that has been experienced in the Humanities, as well as the increasing ease with which scholars can now access large numbers of historical and contemporary images, this approach places 'the visual' at the centre of the study of the past. For Paul, visual history 'addresses the whole field of visual practice as well as the visuality of experience and history' . 7 Most importantly, however, visual history takes as its starting point a simple yet often neglected principle, that is, the need to write 'against the ingrained anti-visualism of the social sciences' and accept -as Sumathi Ramaswamy argues -that 'pictures, too, have stories to show and arguments to manifest, and that images are not just illustrative and reflective but also constitutive and world-making rather than world mirroring' . 8 Indeed, one of the most fundamental contributions made by adherents of this approach is the belief that images -regardless of the media in which they are produced -can generate an agency all of their own. As Horst Bredekamp suggests, for example, 'Politics requires images, it gives rise to images; but it can also follow where images may lead. ' 9 In this volume, we shall see various examples of precisely this process in the politically fraught context of occupation.Rather than drawing a clear distinction between 'art history' , 'cultural history' and 'visual cultures' , then, the 'transdisciplinary research' inherent in visual history can provide a space within which scholars from diverse disciplinary traditions can engage with one another. Indeed, many 'visual historians' have been open to the lessons that parallel approaches, such as 'visual cultures' , can provide, for 'visual history' entails not just the foregrounding of images in accounts of the past, but also an acknowledgement (and historicization) of the ways in which wider social and cultural contexts shape which images (or groups of images) are seen, how they are seen and by whom they are seen. Below, we will explore how recent cases of occupation have been instrumental in reinforcing such sensibilities in the theoretical scholarship.In adopting 'visual histories' in its very title then, this book demonstrates that art historians, cultural historians, visual anthropologists, critical theorists and visual cultures scholars can engage in fruitful debate (in this case on 'occupation') without necessarily replicating each other's methods and/or sources. Indeed, while a good deal of scholarship that has been written consciously unde...

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Eco-writing and Drone: Digital Poetry During the Anthropocene

Naji

2021

Digital Poetry

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Drone Poetics

Cited by 5 publications

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Introduction: Visual histories of occupation(s)

Eco-writing and Drone: Digital Poetry During the Anthropocene

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