The Aesthetics of Posthuman Experience: The Presence of Journalistic, Citizen-generated and Drone Imagery

Blaagaard, Bolette

doi:10.16997/wpcc.212

Cited by 5 publications

(1 citation statement)

References 28 publications

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“…Different genres and formats -for instance, drone images and participants' images -permit different aesthetic experiences of similar conflictual events (Blaagaard, 2015). Operative images and images taken by participants in conflict simultaneously facilitate extreme close-up and personal accounts of conflictrelated incidents and provide distance by dehumanizing conflict and obscuring the context in which it takes place.…”

Section: Genres Of Distance and Proximitymentioning

confidence: 99%

Digital images and globalized conflict

Blaagaard

Mortensen

Neumayer

2017

Media, Culture & Society

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As the number of digital images of globalized conflicts online grow, critical examination of their impact and consequence is timely. This editorial provides an overview of digital images and globalized conflict as a field of study by discussing regimes of visibility and invisibility, proximity and distance, and the multiplicity of images. It engages critically with these interlinking themes as they are addressed in the contributing articles to the Special Issue as well as beyond, asking how genres and tropes are reproduced, how power plays a role in access to images, and how the sheer quantity of conflict-related images raise issues of knowledge production and research. Keywords digital images, globalized conflict, multiplicity of images, operative images, proximity and distance, usergenerated images, visibility Digital media, particularly mobile media, have fundamentally and dramatically altered the role that images play in conflicts by easing access to creating and sharing photographs and videos. Digital images do more than just change the way in which conflicts are represented; conflicts themselves change as the decline in control over image flow contributes to shaping, escalating, de-escalating, and even creating conflicts (e.g. Allan, 2013; Andeń-Papadopoulos and Pantti, 2011; Eder and Klonk, 2017; Mortensen, 2015a; Zelizer, 2010). Over the past decades, the rapid and extensive dissemination of images from conflicts has intensified the struggle for public visibility. This has encouraged competing visual narratives and counter narratives, persistent allegations of falsification and manipulation, yet also resulted in unprecedented access to more 'unfiltered' and subjective images from conflicts, documenting violence, human rights violations, and mundane aspects of daily life in conflict zones. As the title of this Special Issue 'Digital Images and Globalized Conflict' suggests, the role of images in conflicts today is conditioned by their increasingly globalized circulation through digital media. Existing scholarship has persuasively argued that conflicts are now connected across the globe through the dissemination of images via networked technologies (perhaps most prominently; Castells, 2012). Even if images cross regional, cultural, and linguistic borders, however, they are received and interpreted in often divergent and conflicting manners in different social, cultural, and geopolitical contexts, prompting diverse readings, meanings, and actions.

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Section: Genres Of Distance and Proximitymentioning

confidence: 99%

Digital images and globalized conflict

Blaagaard

Mortensen

Neumayer

2017

Media, Culture & Society

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Drone Journalism

Vobič¹

2019

The International Encyclopedia of Journalism Studies

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This entry considers the ambiguous notion of drone journalism by reviewing its various meanings and considering how drones are articulated in news media discourse and employed by newsrooms. Drones have seen increasing use by journalists as newsgathering tools. However, the emergence of drone journalism has not been accompanied by a solid set of procedures and conventions, nor is it a widely accepted subject in journalism education. Although the intersection of journalism and drones lies more on the periphery of journalism studies, theoretical and empirical explorations of drone journalism reveal regulatory and ethical complexities, the implications of drone imagery for journalism as a cultural practice, and the porous boundaries between witnessing and surveillance in negotiations on the social roles of drone journalists.

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Atmospheric politics: protest drones and the ambiguity of airspace

Kaplan

2020

Digi War

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This article addresses the emergence of a particular assemblage-the adoption of sUAS or small drones by subjects with different interests grouped in the same location: journalists, protestors, and police. Considering the use of sUAS by protestors in the USA during the occupy movement, the rebellion at Ferguson, Missouri, and at the #NoDAPL protests at Standing Rock, I argue for an expanded notion of airspace that does not reinforce the state violence of no-fly zones and regulatory restrictions. Once we situate drones as productive of atmospheric politics, spaces, and temporalities, we can account for their incorporation into military and governmental as well as beneficial or humanitarian uses and thereby develop a better understanding of the relational dynamics of the assemblage of airspaces, aerial vehicles, and their creators and operators.

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The Aesthetics of Posthuman Experience: The Presence of Journalistic, Citizen-generated and Drone Imagery

Cited by 5 publications

References 28 publications

Digital images and globalized conflict

Digital images and globalized conflict

Drone Journalism

Atmospheric politics: protest drones and the ambiguity of airspace

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