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2020 | OriginalPaper | Buchkapitel

6. Drone Photography and the Re-aestheticisation of Nature

verfasst von : Verónica C. Hollman

Erschienen in: Decolonising and Internationalising Geography

Verlag: Springer International Publishing

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Abstract

Drones offer the possibility to depict places from perspectives difficult to achieve. They make visible an order of forms, patterns and relationships that, from the surface is either difficult or impossible to have. Although originally developed as a military technology, and hence highly restricted to military practices, drones are currently more accessible for a wider range of users. Perhaps, drone photography and its recent popularisation are the most outstanding evidences of how the use of this technology has experienced a shift from the military to the civil arena. Both, the altitude and the proximate perspective that drones achieve, make the drone picturing a renewed challenge. Assuming that each technology of vision organises what we observe with our eyes, I will explore how drone photography is picturing nature. By focusing on the visual universe displayed under the category Nature on Dronestagram, a website devoted to drone images, I will identify some of the mechanisms upon which drone photography is reshaping the geographical imaginations of nature.

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Fußnoten
1
Regarding drone’s flight altitude, it must be said that regulations vary from country to country.
 
2
The app created by the visual artist Josh Begley also aims at making visible a political system of killing. The app sends to your cell phone a push notification every time a drone strike is reported in the news.
 
3
Social movements and unions in Argentina frequently use drone photography as a document of the social support they have during protests and mobilisations.
 
4
Digital technologies enable the visualisation of images through different digital devices (computers, smart phones, online distribution platforms) and different material qualities (hard copy, different screens). Regarding the geographies of digital technologies see Rose (2016).
 
5
From 2014 to 2017, National Geographic as well as the main producers of commercial drones were sponsors of the International Drone Photography Contest.
 
6
Stephanie Hawkins (2010) has analysed the impact of this magazine on the nation's visual literacy with a creative blend of scientific and aesthetic modes.
 
7
First prize category Nature 2017 Contest: Provence, summer trim. Photographer jcourtial.
 
8
Second prize category Nature 2017 Contest: Infinite route to Transylvania. Photographer Calin Stan.
 
9
Third prize, category Nature 2017 Contest: Ice formation. Photographer Florian.
 
10
I would like to point out that there are other possible outcomes of colour digital edition even if they are not part of Dronestragram visual universe. For example, the artist Florian Maier-Aichen’s edition of the colour consists precisely of leaving traces of the digital intervention. In other words, this artist makes visible the digital edition on the visual composition of the image.
 
11
First prize winner, category Nature 2015 Contest: Snorkelling with sharks. Photographer Tahitiflyshoot.
 
12
Although I am referring particularly to the nonlinear patterns of natural vegetation´s distribution in comparison to the linear patterns that cultivated fields have, I would like to acknowledge the symmetries hidden in nature as well as the dynamism, instability and complexity of its behaviour (Prigogine and Stengers 2004).
 
13
First prize winning photography 2014 contest. Photographer: Capungaero.
 
16
The Mapuche people are the original inhabitants of the Southern territories of Argentina and Chile.
 
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Metadaten
Titel
Drone Photography and the Re-aestheticisation of Nature
verfasst von
Verónica C. Hollman
Copyright-Jahr
2020
DOI
https://doi.org/10.1007/978-3-030-49516-9_6