Unruly vision, synesthetic space: drone music videos

Christiansen, Steen Ledet

doi:10.1080/17458927.2020.1814565

Cited by 6 publications

(4 citation statements)

References 19 publications

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“…The striking white snow accentuates the dramaticism of the road and even gives the surrounding forest of green and yellow larch trees a more ominous appearance, which is further emphasized by their shadows that add emotional intensity to the image (Ledin and Machin, 2020: 102). The disorderly arrangement of shapes, colours and contours creates a juxtaposition between intimacy and chaos, transforming the visual field in both vertical and lateral directions, which produces an unrecognizable perspective of an everyday image (Christiansen, 2020: 290). This makes the landscape feel more tactile than visual as the road, trees and snow bend as they approach the camera lens and move away from it again.…”

Section: Analysis and Discussionmentioning

confidence: 99%

“…This was emphasized by a recent special issue The Sensorial Experience of the Drone (2020), which explored how drone technology is mobilized and reimagined in artistic works and the ways this transforms the human sensorium (Agostinho et al, 2020). This area of research offers an important step forward in our general understanding of the drone, how it affects human perception culturally and emotionally, and how it is reshaping our sensory formations and transforming the visual field by producing images that are distinct from our daily imaginaries (Christiansen, 2020). However, it also highlights an area of drone research, which is still widely overlooked: the multimodal and multisensorial components of drone visuals.…”

Section: Drone Views: Their Study and Applicationsmentioning

confidence: 99%

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Drone views: a multimodal ethnographic perspective

Serafinelli

O’Hangan

2022

Visual Communication

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Drone visuals are rapidly becoming part of our sociocultural imaginaries, generating distinct images that differ from traditional visual conventions and producing unexpected perspectives of the world that reveal hidden aspects of our surroundings. Despite the growing use of camera-laden drones in a range of commercial and non-commercial activities, to date, little scholarly attention has been paid to the semiotics of drone visuals. This article is the first to draw specific attention to the compositional structure of drone visuals, combining social semiotic analysis with ethnographic insights to assess how they are changing the way we think about the world. Exploring drone hobbyists’ and developers’ perspectives on drone usage and the visuals they generate, the authors identify and examine three frequently occurring characteristics of drone visuals: top-down views, 360-degree panoramic views and ‘classic’ landscape perspectives. The critical analysis of these peculiarities leads them to argue for the potential of these innovative visions to reshape our visual culture. In their conclusion, the authors aim to open a conversation about the way technological advancements mark important sociocultural changes in sense-making processes, geographical imaginations and everyday life experiences.

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Section: Analysis and Discussionmentioning

confidence: 99%

Section: Drone Views: Their Study and Applicationsmentioning

confidence: 99%

Drone views: a multimodal ethnographic perspective

Serafinelli

O’Hangan

2022

Visual Communication

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“…These distributed agencies of drone warfare emerge in provocative form in the critique of drone power found in contemporary art. While the view from the drone camera has been normalized within cinema, television, music videos, journalism and social media video (Christiansen, 2017(Christiansen, , 2020Chamberlain, 2017), far more critically engaged works by Trevor Paglen, Laura Poitras, James Bridle, Omar Fast, Mahwish Chishty and many others have established art made by or about drones as a distinct aesthetic field. Stubblefield (2020) argues that drone art captures the ambivalence of its subject.…”

Section: Militarizationmentioning

confidence: 99%

Drone Power: Conservation, Humanitarianism, Policing and War

Fish

Richardson

2021

Theory, Culture & Society

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A convergence of four genealogies reveals drone power. Environmentality describes the contradictory uses of drones in conservation. Humanitarianism articulates how control is enacted and challenged in human crises. Securitization examines drones in surveillance and counter-surveillance. Militarization, the use of drones in war, explains domination from above and resistance from below. While theories of governmentality dominate, an emergent materialism within drone studies emphasizes the diffusion of power and agency. A synthesis of drone governmentality and drone materialism exposes four flightways or elemental trajectories. The drone is an existential technology – a tool for enlivenment and senescence. As such, drone power migrates between biopolitics and resistance. In doing so, drone performativity generates assemblages of human and nonhuman actants entangled at material-discursive and onto-epistemological levels. Entrapment designates the consequences of increasing dependency on technologies in sociotechnical systems of life and death.

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“…Replicating the study in an empty room, Heimann et al (2019) found that greater motor resonance was again evoked for the Steadicam, providing the first empirical evidence that camera movement alone can modulate spectator's bodily engagement during film experience. Although there is a growing number of theoretical (Virilio 1994;Verhoeff 2012;3 Campbell 2018;Agostinho, Maurer and Veel 2020;Christiansen 2020;Jablonowski 2020) and technological (Eriksson et al 2019;Cherpillod, Mintchev, and Floreano 2019) studies on the sensorimotor capacities of drone flight and drone vision, to date no studies have investigated the effect of drone footage with and without human bodily movement on spectators' cognitive behavioral mechanisms.…”

Section: Film and Sensorimotor Engagementmentioning

confidence: 99%

Simulating drone and bodily gestures: a behavioral study

Kolesnikov¹,

Montalti²,

Calbi³

et al. 2021

Preprint

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According to embodied simulation theory, humans tacitly ‘simulate’ the actions of the other by mapping them in the sensorimotor cortex of the brain. According to the framework of embodied cinema, the meaning-making process in film is considered to be inextricably linked to the interrelation between the brain, body and environment of the viewer. Athough there are a growing number of theoretical and technological studies on the embodied nature of drone flight, to date no studies have investigated the effect of drone footage with and without human bodily movement on spectators’ cognitive behavioral mechanisms. Thus, the present study investigates the relationship between Drone Movement (Ascending, Descending, Still) , Actor Presence (Female, Male, None) and Image Speed (Normal, Slow, Very Slow) on perceived motion, appeal and involvement measures. To achieve these aims, a custom-made, naturalistic set of video stimuli modeled after the staircase scene in the Soviet film The Cranes Are Flying (Kalatozov, 1957) was created using a DJI Phantom Pro 4 Drone. In the experimental task (carried out at the computer), participants were asked to rate video stimuli using a Visual Analogue Scale (VAS) ranging from 0 to 100 for perceived Duration, Liking, Movement, and Emotional and Physical Involvement. Results demonstrate that: 1) Ascending and Descending had significantly higher ratings for perceived Duration, Movement and Physical and Emotional Involvement than Still; 2) Ascending had significantly higher ratings for perceived Duration, Movement and Emotional Involvement than Descending; 3) Female and Male had significantly higher ratings for Movement, Physical Involvement and Emotional Involvement than None (No Actor); 4) Normal Image Speed had significantly higher ratings for Movement, Physical Involvement and Emotional Involvement with respect to Slow and Very Slow. Results indicate that drone/actor ascent may evoke more motion and involvement due to perceived exertion or ‘effort’ to climb up the stairs, and that participants resonate more with conspecifics and familiar repertoires, in support of embodied simulation theory. Results also indicate that movement in the drone/actor image modulates perceived time. Neuroimaging studies are needed to investiate the impact of drone movement with or without human bodily movement on cortical sensorimotor activation in the brain.

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Unruly vision, synesthetic space: drone music videos

Cited by 6 publications

References 19 publications

Drone views: a multimodal ethnographic perspective

Drone views: a multimodal ethnographic perspective

Drone Power: Conservation, Humanitarianism, Policing and War

Simulating drone and bodily gestures: a behavioral study

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