The Dispatched Drone and Affective Distance in Fieldwork

Research output: Contribution to journalJournal articlepeer-review

Standard

The Dispatched Drone and Affective Distance in Fieldwork. / Munck Petersen, Rikke.

In: The Senses and Society, Vol. 15, No. 3, 28.10.2020, p. 311-328.

Research output: Contribution to journalJournal articlepeer-review

Harvard

Munck Petersen, R 2020, 'The Dispatched Drone and Affective Distance in Fieldwork', The Senses and Society, vol. 15, no. 3, pp. 311-328. https://doi.org/10.1080/17458927.2020.1820188

APA

Munck Petersen, R. (2020). The Dispatched Drone and Affective Distance in Fieldwork. The Senses and Society, 15(3), 311-328. https://doi.org/10.1080/17458927.2020.1820188

Vancouver

Munck Petersen R. The Dispatched Drone and Affective Distance in Fieldwork. The Senses and Society. 2020 Oct 28;15(3):311-328. https://doi.org/10.1080/17458927.2020.1820188

Author

Munck Petersen, Rikke. / The Dispatched Drone and Affective Distance in Fieldwork. In: The Senses and Society. 2020 ; Vol. 15, No. 3. pp. 311-328.

Bibtex

@article{6d2d90bfd5e54152be3d89157c6fde95,
title = "The Dispatched Drone and Affective Distance in Fieldwork",
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{\textquoteright}s key contribution.",
keywords = "Faculty of Science, Drone filming, Gestures, Rhythm, Motion, Sensation, Affection",
author = "{Munck Petersen}, Rikke",
year = "2020",
month = oct,
day = "28",
doi = "10.1080/17458927.2020.1820188",
language = "English",
volume = "15",
pages = "311--328",
journal = "Senses and Society",
issn = "1745-8927",
publisher = "Taylor & Francis Online",
number = "3",

}

RIS

TY - JOUR

T1 - The Dispatched Drone and Affective Distance in Fieldwork

AU - Munck Petersen, Rikke

PY - 2020/10/28

Y1 - 2020/10/28

N2 - 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.

AB - 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.

KW - Faculty of Science

KW - Drone filming

KW - Gestures

KW - Rhythm

KW - Motion

KW - Sensation

KW - Affection

U2 - 10.1080/17458927.2020.1820188

DO - 10.1080/17458927.2020.1820188

M3 - Journal article

VL - 15

SP - 311

EP - 328

JO - Senses and Society

JF - Senses and Society

SN - 1745-8927

IS - 3

ER -

ID: 244584152