In Hagerman's piece, "Point. Click. Kill.", he explores the relationships among drone pilots, the machine itself, and the victims of the drones.  These social relations become lopsided due to mass spatial gaps in distance: the drone pilot is intimately connected to the spaces that he is looking to fire through the drone lens, but the targeted victim is still separated by this large geographical space and haunted by the spatial intimacy unknown to him/her.   

Michael Haas, a sensor operator with both special forces and the regular air force, commented on guiding in an A-10 attack aircraft in Iraq: “That was my first real experience and it opened my eyes: this was real. I know it’s on a screen and people say it’s a video game, but there’s no damn reset button. You gotta get it right, just that once, or you’ve failed. It stuck with me for a bit. Did I kill them technically? Was I the one who did it? Or was I just assisting? I never knew quite how much guilt to feel about that. So for the next few weeks I just blocked it out of my mind” (Woods 2015).  The screen in front of the drone pilot initially resembles a video game or an episode of “Cops” where you as the controller with a weapon are chasing the “bad guys”.  Since there is an apparent spatial gap, the social connections are more complex and less irrevocable.  The lines between the virtual and the real become hazy.         

*Hagerman, Eric. “Point. Click. Kill.” Popular Science, Sept. 2009: n. pag. Web.
*Woods, Chris. "Drone Warfare: Life on the New Frontline." The Guardian. N.p., 24 Feb. 2015. Web. 3 Dec. 2015.