In the eye of the target: Armed vision, operational images, and counter-visualities. On Éléonore Weber’s film Il n’y aura plus de nuit (2020)
Fourmentraux, Jean-Paul
In the eye of the target: Armed vision, operational images, and counter-visualities. On Éléonore Weber’s film Il n’y aura plus de nuit (2020) - 2023.
29
In the digital age, the act of seeing has perhaps never been so closely linked to a blind submission to machines. In the case of drones and “operational images” at work in armed conflicts, this initial coupling of the gaze to machines is duplicated: seeing is also synonymous with aiming at a target and reaching it with weapons. The digital eye becomes the “armed eye” when the movement of the gaze is called upon to direct that of autocannons or missile launchers aboard drones or attack helicopters.
In the eye of the target: Armed vision, operational images, and counter-visualities. On Éléonore Weber’s film Il n’y aura plus de nuit (2020) - 2023.
29
In the digital age, the act of seeing has perhaps never been so closely linked to a blind submission to machines. In the case of drones and “operational images” at work in armed conflicts, this initial coupling of the gaze to machines is duplicated: seeing is also synonymous with aiming at a target and reaching it with weapons. The digital eye becomes the “armed eye” when the movement of the gaze is called upon to direct that of autocannons or missile launchers aboard drones or attack helicopters.
Réseaux sociaux