"Drones" the book.

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Drones Sylvia Vuarnet & Marnix De Keukelaere

description

The light-hearted spirit, the Spielberghien atmosphere in which we conceived the series «The Drones» coincides with and mirrors the euphemistic and innocent aura that surrounds the UCAV’s (Unmanned Combat Aerial Vehicles). They look like toys. The military control them with « joysticks » from command posts that resemble game arcades. The drones have names such as «Predator, Dragon Eye.. » refering to comic strips and computer games. However their mission is less prosaic and innocent. In real life they gather information, control and eliminate. As a result of their missions sometimes « collateral damage » occurs, yet another euphemism for innocent victims. From high above in the sky or closer and disguised as little insects they spy on us. Seen from that perspective, our series « The Drones » looses most of its innocence.

Transcript of "Drones" the book.

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DronesSylvia Vuarnet & Marnix De Keukelaere

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PARALLAX(e) productions

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DronesSylvia Vuarnet & Marnix De Keukelaere

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ans une atmosphère à la Spielberg, la série «Les Drones» miroite le côté ludique et innocent qui entoure les UCAV’s (Unmanned Combat Aerial Vehicles). Ces drones ont tout l’air de jouets télécommandés. Des mi-litaires les contrôlent avec des «joysticks» à partir de postes de commande qui ressemblent à des arcades de jeux. Sou-vent les drones portent des noms caractéristiques: «Predator, Dragon Eye…» Ils font penser à des jeux vidéo populaires, des dessins animés ou des films de science fiction. Pourtant leurs missions sont moins innocentes qu’il n’est suggéré. En réalité, ils espionnent, ils contrôlent et éliminent. Parfois leurs interventions génèrent des dommages collatéraux, encore un euphémisme, cette fois pour dire qu’il y a des victimes innocentes. Hauts dans le ciel, de plus en plus nombreux, ils nous guettent. Sous cet angle, notre projet photographique «Drones» perd une partie de son innocence.

he light-hearted spirit, the Spielberghien atmosphere in which we conceived the series «The Drones» coincides with and mirrors the euphemistic and innocent aura that surrounds the UCAV’s (Unmanned Combat Aerial Vehicles). They look like radio controlled toys. The military control them with «joy-sticks» from command posts that resemble game arcades. The drones have names such as «Predator, Dragon Eye…» referring to comic strips, sci-fi films or computer games. However their mission is less innocent. In real life they gath-er information, control and eliminate. Sometimes they cause «collateral damage», yet another euphemism for innocent victims. High up in the sky in increasing numbers they spy on us. Seen from that perspective, our series «Drones » looses most of its innocence.

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“C’est en été 2011 que nous avons photographié les premiers drones. Depuis ce jour, le nombre d’observations n’a fait qu’augmenter”

“It was in the summer of 2011 that we photographed the first drones. Since that time the number of observations only increased”

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“Récemment, des drones ont pénétré dans le studio à Paris. Nous les avons chassé comme des oiseaux égarés. Ils deviennent de plus en plus intrusifs.”

“Recently, some drones invaded the Parisian studio. We chased them as lost birds. They beco-me more and more intrusive.”

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“Est-il possible qu’une nouvelle génération de drones sachent changer d’aspect et soient ca-pables d’adapter leurs dimensions en fonction des circonstances et des missions? Parfois, ils opèrent en essaims, mimant le comportement d’insectes”

“Is it possible that a new generation of drones is capable of changing their aspect and even dimensions during a mission? Sometimes, they operate in swarm’s, mimicking the behaviour of insects.”

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“Un drone c’est à nouveau introduit dans le studio. Il s’intéressait particulièrement à une image sur l’écran de l’un de nos ordinateurs. Sans faire le moindre bruit il s’est envolé par la fenêtre ouverte.”

“Once more a drone intruded into our studio. He was particularly interested in an image on one of our computers. Silently he flew off through the open window.”

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A 2013 PARALLAX(e) production / all rights reserved