ABSTRACT Drone usage in urban planning is increasing. When used in fieldwork, the dispatched drone returns moving images live on-screen, implying direct sensations for the pilot/planner. This article discusses how the human body is extended by the drone with its freely moving eyeline and its vertical and horizontal rhythms. Steering via on-screen moving images – moving oneself physically to follow the drone – has direct kinesthetic and synesthetic effects on the planner. The article examines how first- and third-person perspectives are folded together, and how the interplay of gestures (vision, rhythm, motion) is central to sensation during drone filming. Thus, the article identifies how the dispatched drone stirs affections, feelings, and touch during filming as a self-affective methodology and action. It defines distance as a felt rhythm of existence – a sensation, resonance, or immediation – that is mediated by the written account. The development of this methodological approach constitutes the article’s key contribution.

中文翻译：

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野外作业中的派遣无人机与情感距离

摘要 无人机在城市规划中的使用正在增加。在实地工作中使用时，派遣的无人机在屏幕上实时返回运动图像，暗示飞行员/规划人员的直接感觉。本文讨论了无人机如何通过其自由移动的眼线和垂直和水平节奏来伸展人体。通过屏幕上的运动图像进行转向——身体移动以跟随无人机——对规划者有直接的动觉和联觉效应。这篇文章探讨了第一人称和第三人称视角如何折叠在一起，以及手势（视觉、节奏、动作）的相互作用如何在无人机拍摄过程中成为感觉的核心。因此，文章将被派遣的无人机在拍摄过程中如何激发情感、感受和触摸作为一种自我情感的方法和行动。它将距离定义为一种感受到的存在节奏——一种感觉、共鸣或直接——由书面记录介导。这种方法论方法的发展构成了本文的主要贡献。