"I can remember many clear and starry summer nights when I was a young boy, hanging out with my friends on the hood of the family car, all dreamy and wonder-filled after coming back from a showing of It Came From Outer Space, or Not of The Earth, or Angry Red Planet, or Forbidden Planet or any of a dozen other space themed adventures. These first cinematic voyages of the space age seemed like incredible irruptions in the eyes of an eleven year old boy, an enchantment coming from outside the frame of ordinary everyday life, and certainly finding fertile ground in those just beginning on life's journey. But as much as anything else what we were witnessing was the first large scale demographic distribution of a redressing of the dismantling of enchantment by the Enlightenment, an approaching wave of the uncanny that was soon to turn into a tsunami."

There should no longer be any doubt: drones are here to stay. In civil society, they are used for rescue, surveillance, transport and leisure. And on the battlefield, their promises of remote protection and surgical precision have radically changed the way wars are fought. But what impact are drones having on our identity, and how are they affecting the communities around us? This book addresses these questions by investigating the representation of civilian and military drones in visual arts, literature, and architecture. What emerges, the contributors argue, is a compelling new aesthetic: ‘drone imaginary’, a prism of cultural and critical knowledge, through which the complex interplay between drone technology and human communities is explored, and from which its historical, cultural and political dimensions can be assessed. The contributors offer diverse approaches to this interdisciplinary field of aesthetic drone imaginaries. With essays on the aesthetic configurations of drone swarming, historical perspectives on early unmanned aviation, as well as current debates on how drone technology alters the human body and creates new political imaginaries, this book provides new insights to the rapidly evolving field of drone studies. Working across art history, literature, photography, feminism, postcolonialism and cultural studies, Drone imaginaries offers a unique insight into how drones are changing our societies.

Brazen Throats is an epic poem by a veteran: "Bill Nixon gives us what seems to be straightforward narrative of the string of epic moments, horrifying in theirsuddenness and violence and even more so as they -the men, the moments--double over into bonding andecstatic fusion; moving beyond what any of them had ever conceived as a normal reality, ideology falls awayand it is Us verses Them." [....] from the preface

What happens when a drone enters a gallery or appears on screen? What thresholds are crossed as this weapon of war occupies everyday visual culture? These questions have appeared with increasing regularity since the advent of the War on Terror, when drones began migrating into civilian platforms of film, photography, installation, sculpture, performance art, and theater. In this groundbreaking study, Thomas Stubblefield attempts not only to define the emerging genre of "drone art" but to outline its primary features, identify its historical lineages, and assess its political aspirations. Richly detailed and politically salient, this book is the first comprehensive analysis of the intersections between drones, art, technology, and power.

It may be the case that the biggest Event, themost horrible catastrophe will not be of theorder of climate, or asteroids, or food production, or extreme financialization or any of the otherDooms which seem to await us, riding along sideof us as we rapidly futurize (or indemnify) thehuman. It might just as possibly be an invention,that unprecedented Event which causes a globalcollapse into another phase state away from thehuman, away from the organic; a product of theforeign body which forms part of the human, willbe responsible for everything that we fear fromcatastrophic interventions and intrusions,something which simultaneously wipes out andrestates, something which, much more frighteningthan Ebola, will be something which we desire andwant to come about, something we have created:an invention which is hollow inside.

A fictionalized account of the fall of Western Culture, as seen through the prism of the city of Atlanta. The return of Mayan/Aztec culture and its replacement of Christianity in Atlanta Ga. By turns, funny, sobering, historical, traumatic, mixing autobiography, fiction, theology and history in a heady blend.

A selected perforations compilation of material from 1992 until 2014: calls, articles, and more. Theory, anti-data, communitarian, ghostly, hysterical, missed aim, infra thin (where the brain rubber hits the road)