Dronestagram: the locations behind America's secret drone war

These are the places most of us will never see. We do not know these landscapes and we cannot visit them.

October 11: a seminary in Bulandkhel, on the border of Orakzai and North Waziristan, Pakistan.

At dawn, on October 18: the outskirts of the town of Jaar, in southwestern Yemen.

The evening of October 21: a road through Waadi Abida, in the province of Maarib, Yemen.

October 24: a house in the village of Tappi, North Waziristan, Pakistan.

October 28: eastern Saada, the poorest and least accessible province of Yemen.

In the early hours of November 7, the night of the US election: Beyt al-Ahmar, a small village just 40km from Sana'a, Yemen's capital.

These are the names of places. They are towns, villages, junctions and roads. They are the names of places where people live and work, where there are families and schools. They are the names of places linked by one thing: they have each been the location of drone strikes in the past couple of months.

They are the names of places most of us will never see. We do not know these landscapes and we cannot visit them.

What can reach them are drones, what can see them — if not entirely know them — are drones. Most commonly, these are MQ-9 Reaper aircraft, the size of a Cessna, piloted in these cases not by the military, but the CIA. At anywhere between five and fifty thousand feet, the drones are impervious to the weapons of the people below them, and all-seeing across the landscape. Drones are just the latest in a long line of military technologies augmenting the process of death-dealing, but they are among the most efficient, the most distancing, the most invisible. These qualities allow them to do what they do unseen, and create the context for secret, unaccountable, endless wars. Whether you think these killings are immoral or not, most of them are by any international standard illegal.

For a few weeks now, I have been posting images of the locations of drone strikes to the photo-sharing site Instagram as they occur, under the name Dronestagram. Making these locations just a little bit more visible, a little closer. A little more real.

The Bureau of Investigative Journalism compiles reports from Pakistan, Yemen, and Somalia. Their records, drawn from local newspapers and the international wires services, are publicly accessible. A variety of sources are used to locate a suitable view for each image, including the original media reports, wikipedia, local government and media sites, often translated from Arabic by Google's translation engine. Many are in outlying areas and the information on exact locations is scarce; where a precise location is not given, the view should be within a few kilometres in most cases. The landscapes and the places and their names are real.

The BIJ is currently only reporting on those three territories, where covert drone operations are occurring. Drones are in constant use in Afghanistan by British and American forces. Neither release any regular information about their use. The RAF has not even posted a public operations update since mid-September, which in any case only refer vaguely to reconnaissance, while Defence Minister Phillip Dunne was recently forced to admit in the Commons that UK drones have been used in almost 350 attacks in Afghanistan since 2008 (that’s a drone strike every four days), and recently moved to double the size of its fleet of Reaper drones.

Drones are also used under dubious circumstances in many other parts of the world, such as Israel, Turkey and Iran. China just unveiled it's own Wing Loong (Pterodactyl) drone. When information about other strikes is available, these will be included in Dronestagram too.

The political and practical possibilities of drone strikes are the consequence of invisible, distancing technologies, and a technologically-disengaged media and society. Foreign wars and foreign bodies have always counted for less, but the technology that was supposed to bring us closer together is also used to obscure and obfuscate. We use military technologies like GPS and Kinect for work and play; they continue to be used militarily to maim and kill, ever further away and ever less visibly.

Yet at the same time we are attempting to build a 1:1 map of the world through satellite and surveillance technologies, that does allow us to see these landscapes, should we choose to go there. These technologies are not just for “organising” information, they are also for revealing it, for telling us something new about the world around us, rendering it more clearly.

History, like space, is coproduced by us and our technologies: those technologies include satellite mapping, social photo sharing from handheld devices, and fleets of flying death robots. We should engage with them at every level. These are just images of foreign landscapes, still; yet we have got better at immediacy and intimacy online: perhaps we can be better at empathy too.

This post is an edited version of a post originally published at BookTwo.org

Instagram becomes Dronestagram

James Bridle is a writer, artist, publisher and technologist usually based in London, UK.

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Harmful gender stereotypes in ads have real impact – so we're challenging them

The ASA must make sure future generations don't recoil at our commercials.

July’s been quite the month for gender in the news. From Jodie Whittaker’s casting in Doctor Who, to trains “so simple even women can drive them”, to how much the Beeb pays its female talent, gender issues have dominated. 

You might think it was an appropriate time for the Advertising Standards Authority (ASA) to launch our own contribution to the debate, Depictions, Perceptions and Harm: a report on gender stereotypes in advertising, the result of more than a year’s careful scrutiny of the evidence base.

Our report makes the case that, while most ads (and the businesses behind them) are getting it right when it comes to avoiding damaging gender stereotypes, the evidence suggests that some could do with reigning it in a little. Specifically, it argues that some ads can contribute to real world harms in the way they portray gender roles and characteristics.

We’re not talking here about ads that show a woman doing the cleaning or a man the DIY. It would be most odd if advertisers couldn’t depict a woman doing the family shop or a man mowing the lawn. Ads cannot be divorced from reality.

What we’re talking about is ads that go significantly further by, for example, suggesting through their content and context that it’s a mum’s sole duty to tidy up after her family, who’ve just trashed the house. Or that an activity or career is inappropriate for a girl because it’s the preserve of men. Or that boys are not “proper” boys if they’re not strong and stoical. Or that men are hopeless at simple parental or household tasks because they’re, well...men.

Advertising is only a small contributor to gender stereotyping, but a contributor it is. And there’s ever greater recognition of the harms that can result from gender stereotyping. Put simply, gender stereotypes can lead us to have a narrower sense of ourselves – how we can behave, who we can be, the opportunities we can take, the decisions we can make. And they can lead other people to have a narrower sense of us too. 

That can affect individuals, whatever their gender. It can affect the economy: we have a shortage of engineers in this country, in part, says the UK’s National Academy of Engineering, because many women don’t see it as a career for them. And it can affect our society as a whole.

Many businesses get this already. A few weeks ago, UN Women and Unilever announced the global launch of Unstereotype Alliance, with some of the world’s biggest companies, including Proctor & Gamble, Mars, Diageo, Facebook and Google signing up. Advertising agencies like JWT and UM have very recently published their own research, further shining the spotlight on gender stereotyping in advertising. 

At the ASA, we see our UK work as a complement to an increasingly global response to the issue. And we’re doing it with broad support from the UK advertising industry: the Committees of Advertising Practice (CAP) – the industry bodies which author the UK Advertising Codes that we administer – have been very closely involved in our work and will now flesh out the standards we need to help advertisers stay on the right side of the line.

Needless to say, our report has attracted a fair amount of comment. And commentators have made some interesting and important arguments. Take my “ads cannot be divorced from reality” point above. Clearly we – the UK advertising regulator - must take into account the way things are, but what should we do if, for example, an ad is reflecting a part of society as it is now, but that part is not fair and equal? 

The ad might simply be mirroring the way things are, but at a time when many people in our society, including through public policy and equality laws, are trying to mould it into something different. If we reign in the more extreme examples, are we being social engineers? Or are we simply taking a small step in redressing the imbalance in a society where the drip, drip, drip of gender stereotyping over many years has, itself, been social engineering. And social engineering which, ironically, has left us with too few engineers.

Read more: Why new rules on gender stereotyping in ads benefit men, too

The report gave news outlets a chance to run plenty of well-known ads from yesteryear. Fairy Liquid, Shake 'n' Vac and some real “even a woman can open it”-type horrors from decades ago. For some, that was an opportunity to make the point that ads really were sexist back then, but everything’s fine on the gender stereotyping front today. That argument shows a real lack of imagination. 

History has not stopped. If we’re looking back at ads of 50 years ago and marvelling at how we thought they were OK back then, despite knowing they were products of their time, won’t our children and grandchildren be doing exactly the same thing in 50 years’ time? What “norms” now will seem antiquated and unpleasant in the future? We think the evidence points to some portrayals of gender roles and characteristics being precisely such norms, excused by some today on the basis that that’s just the way it is.

Our report signals that change is coming. CAP will now work on the standards so we can pin down the rules and official guidance. We don’t want to catch advertisers out, so we and CAP will work hard to provide as much advice and training as we can, so they can get their ads right in the first place. And from next year, we at the ASA will make sure those standards are followed, taking care that our regulation is balanced and wholly respectful of the public’s desire to continue to see creative ads that are relevant, entertaining and informative. 

You won’t see a sea-change in the ads that appear, but we hope to smooth some of the rougher edges. This is a small but important step in making sure modern society is better represented in ads.

Guy Parker is CEO of the ASA