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Stingless and making no honey

Author: joe

Friday, 29 July, 2011 - 21:50

The drone is a male of the bee species, "stingless and making no honey".

drone (n.)
O.E. dran, dræn "male honeybee," from P.Gmc. *dran- (cf. M.Du. drane; O.H.G. treno; Ger. Drohne, which is from M.L.G. drone), probably imitative; given a figurative sense of "idler, lazy worker" (male bees make no honey) 1520s. Meaning "pilotless aircraft" is from 1946. Meaning "deep, continuous humming sound" is early 16c., apparently imitative (cf. threnody). The verb in the sound sense is early 16c. Related: Droned; droning.
 
Harper, D., 2010, Drone, in Online Etymological Dictionary, [http://www.etymonline.com/index.php?term=drone]

The stingless, unproductive bee is an idler, feckless and lazy. What does he do but bumble and buzz, with a deceptive lethargy, the wings beating hundreds of times every second: what an expenditure on inactivity. His bumbling is a monotony, a drone, the long low hum of the sustained repetition of difference, working into the hertz of audibility. The drone is reproduction, mediation, perception, sensation, representation, simulation.

The "sightless gaze" of the unmanned system tends to acquire exceptional power since its bearer cannot be pinned down. The reinforced gaze of the embedded eye acquires its power precisely because it can.
 
Perhaps it is both that turn out to be equally "unmanned" -- the latter being more insidious because it traffics in the guise of its opposite.
 
Crandall, J., 9 April 2003, Unmanned - Embedded Reporters, Predator Drones and Armed Perception, [http://www.ctheory.net/articles.aspx?id=378]

The drone as idler is adopted to signify the drone as mindless worker: one is unproductive, the other is not. Why the apparent contradiction? The unproductive effort of one points to the futility of existence; the productive effort of the other points to servitude, the mindless repetition of actions controlled by another, a master. The drone is thus pointless through self-indulgence, or powerless through exploitation. The drone is alienated and emasculated.

The singular telescope of Gallileo has evolved into a bug-eyed drone from Northrop-Grumman. It is no longer a research instrument, but an extension of society. Technology is no longer something that can be banned or controlled. Fear of the Swarm is forever joined to love of the Swarm. As Drone Ethnography has liberated our epistemology, from the popular mindset to high level government actors, the drone-mythos captivates our imaginations. The more we use it, the further we leave the point of no return behind us in the slipstream.
 
Rothstein, A., 20 Jul 2011, Drone Ethnography, [http://rhizome.org/editorial/2011/jul/20/drone-ethnography/]

The drone as unmanned craft is an extension of the mind and body of human beings at war, a distribution of cognition into the framework of equipment. The drone is a delegation of responsibility to the machine, which is at the same time a means of tuning our actions to the agency of technology. The drone is the war of analysis in aerial surveillance, fetishistic transference at 50,000 feet. We watch the machine watching us control the machine controlling us. Drones.

The unmanned system does not eliminate the human so much as redistribute the agencies of warfare. The capacities of sensing, dispatching, analyzing, and alerting -- the intelligence and skill required to interpret and store information and act on the results -- are shared by an affiliation of actors, however algorithmic, organic, or systemic. The focus is on their performative practices within the functional organization of the system. It is a matter of how they are maintained as dynamically stable entities -- sustained, naturalized, and rendered discrete -- and the programs through which this is accomplished.
 
Crandall, J., 27 Jul 2011, Unmanned, email to nettime-l{AT}kein.org, [http://www.nettime.org/Lists-Archives/nettime-l-1107/msg00095.html]

Categories: drone, male bee, alienation, powerlessness, mediation, agency, machine, fetishism,
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Gloss

Author: joe

Wednesday, 06 July, 2011 - 18:50

Today I wrote a glossary for the wellbeing paper I wrote in May, following the comments I got from the reviewers. I had no idea which words to gloss, so I picked the interesting ones; and some were easy to gloss, others were difficult. Here they are.

agency
- the power of acting, or exerting one’s will in order to effect the course of events.
anagnorisis
- Aristotle’s term for ‘recognition’: the crucial moment of realisation in which a person or character either recognises someone’s authentic identity, or senses their own genuine nature, as if for the first time; the discovery or revelation of the truth.
articulation
- more than speaking, to articulate is to be able to connect things and join them together, such as words, sentences, ideas or narrative sequences.
catharsis
- literally, ‘purging’; a term Aristotle borrowed from medicine to refer to the arousal and release of emotion through dramatic narrative.
dialectic
- a heavily burdened word which refers to processes in which divergent views or positions are played out, through argument, conversation, dialogue or conflict, hopefully towards reconciliation; an unfolding of point and counterpoint.
diegesis
- the term borrowed from Greek to refer to the world of a narrative; the internal integrity of the storyworld, which is filled with people, places and customs which belong to that world.
exotopy
- literally meaning ‘outsideness’, this term is used by Mikhail Bakhtin to refer to the ability of an author to ‘speak’ the authentic voices of characters other than their own.
fetishism
- the transference of one’s own agency to a symbolic proxy; e.g. sexual arousal through objects (Freudian fetishism), or allocation of value away from human labour and onto commodities (Marxian commodity fetishism).
hamartia
- mistakes and errors of misrecognition, frequently a crucial element in ancient tragedies whose protagonists often fail to recognise someone they ought to know.
intentionality
- in phenomenology, ‘intentionality’ refers to the ‘directedness’ of conscious experiences: always towards objects, concepts, feelings and perceptions; hence it is related to but not the same as the common understanding which implies purpose and motive.
mimesis
- a Greek term used by Aristotle to refer to the ‘likeness’ of stories to the real world: their imitative capacity.
narratee
- the implied or actual audience to whom a story is directed.
narrative
- at its simplest, a narrative is a telling or re-telling of a series of events which are connected.
narrative configuration
- Louis Mink and Paul Ricoeur use the term ‘configuration’ to refer to the dual act of being able to grasp the different component or sequences of a narrative, while also apprehending the story as a whole, unified structure. Narrators and narratees, authors and readers, writers and audiences, all must be able to see both the figure of the entire story, and the sequences from which it is composed.
polyphony
- a term used by Mikhail Bakhtin to refer to the diversity of languages and voices that are present in the many strata of societies, the different eras of history, or the lines of great literature.
protagonist
- the lead role in the story, the main actor in the drama, the self of the individual’s storyworld.
spect-actor
- Augusto Boal’s terms for the new fusion of spectator and actor he wishes to bring about in both his drama and wider society.
technology of the self
- a term coined by Michel Foucault to refer to the means and techniques by which the self is shaped, both internally by the individual, and externally by influences outside the individual’s control.
unhomeliness
- a neologism created by the translation of Heidegger’s term ‘unheimlich’; I prefer unhomeliness since it implies a non-supernatural lack of a sense of belonging, rather than the word ‘uncanny’ which is sometimes used as a translation.
Verfremdungseffekt
- Brecht’s term for drawing attention to the artifice of dramatic performance - variously translated as ‘defamiliarisation’, ‘estrangement’, ‘alienation’ and ‘distanciation’; a mechanism whereby the illusion of narrative is punctured in order to highlight the highly contingent and constructed nature of stories and their worlds.

Categories: agency, anagnorisis, articulation, catharsis, dialectic, diegesis, exotopy, fetishism, hamartia, intentionality, mimesis, narratee, narrative, narrative configuration, polyphony, protagonist, spect-actor, technology of the self, Verfremdungseffekt,
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