ABSTRACT Militarized perception is always leaking into public culture, from the aerial prospect of balloon flight to the soldier’s helmet camera. Increasingly, the mode of militarized perception most powerfully emergent in Anglo-American everyday life is that of the militarized drone: flattened, loitering, zooming, networked. This mode of perception is enacted by a logistic assemblage that is military in origin, one in which remote sensors, signal flows and autonomous processes work across complex human-machine networks. The paper tracks this new form of everyday militarism across four scenes of cultural life: the Predator on display in the Smithsonian Air & Space Museum; the DJI Spark consumer selfie drone; recreational use of drones in Sydney, Australia; and the activist deployment of drones as witnesses in Hagit Keysar’s artwork ‘No Fly Zone: Jerusalem.’ In doing so, the paper traces the forms and dynamics of drone perception to argue that an emergent ‘drone culture’ can be seen in the manifestation in everyday life of modes of perception distinct to the remote sensing apparatus of the militarized drone.

中文翻译：

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无人机文化：日常军国主义的遭遇

摘要 从气球飞行的空中前景到士兵的头盔相机，军事化的感知总是渗透到公共文化中。越来越多地，英美日常生活中最强大的军事化感知模式是军事化无人机：扁平化、游荡、缩放、联网。这种感知模式是由起源于军事的后勤组合制定的，其中远程传感器、信号流和自主过程在复杂的人机网络中工作。这篇论文在文化生活的四个场景中追踪了这种日常军国主义的新形式：史密森航空航天博物馆展出的捕食者；DJI Spark 消费级自拍无人机；在澳大利亚悉尼休闲使用无人机；以及在 Hagit Keysar 的艺术作品“禁飞区：耶路撒冷”中部署无人机作为目击者。在这样做的过程中，本文追溯了无人机感知的形式和动态，认为在日常生活中可以看到一种新兴的“无人机文化”，这种感知模式不同于军用无人机的遥感设备。