Journal articles on the topic 'Aerial fire-fighting'

Aerial fire fighting is a high-risk, high-cost aviation environment. Normal aviation risks are magnified, sometimes significantly, by a number of factors. Over the years a number of accidents (mid-air collisions and controlled flight into terrain), near mid-air collisions, and other serious incidents involving fire fighting aircraft have occurred. The causes of these accidents or incidents have been primarily attributed to loss of situational awareness in the relatively unstructured aerial environment surrounding wildland fires. In an effort to improve safety and efficiency researchers at NASA Ames Research Center are working with aerial fire fighters to develop a standard phraseology, air space structure, and a navigation/situation display. This paper will focus on the results of an initial communication analysis, and will present a prototype airspace structure, and the preliminary design and evaluation of the navigation/situation display.

Because of their rapid maneuverability, extended operational range, and improved personnel safety, unmanned aerial vehicles (UAVs) with vision-based systems have great potential for monitoring, detecting, and fighting forest fires. Over the last decade, UAV-based forest fire fighting technology has shown increasing promise. This paper presents a systematic overview of current progress in this field. First, a brief review of the development and system architecture of UAV systems for forest fire monitoring, detection, and fighting is provided. Next, technologies related to UAV forest fire monitoring, detection, and fighting are briefly reviewed, including those associated with fire detection, diagnosis, and prognosis, image vibration elimination, and cooperative control of UAVs. The final section outlines existing challenges and potential solutions in the application of UAVs to forest firefighting.

An analysis was made of the current requirements for the training of fire and technical experts and external pilots of the emergency and disaster response system. By the example of training forensic experts of forensic institutions and expert subdivisions of the Federal Fire-Fighting Service of the State Fire-Fighting Service (fire extinguisher expert) the introduction of new professional standards into the educational system of this specialty was examined, on the basis of which the recommendations for modifying the educational program, in order to increase the quality of fire place examination were proposed. When extending the training program of the firefighting expert in the field of external piloting training, the trainee will additionally master professional competences in control and maintenance of unmanned aerial systems. Supplementing the training program for specialists of judicial-expert and expert subdivisions of the Federal Fire-Fighting Service of the State Fire-Fighting Service with labor functions in flight operation of unmanned aircraft systems, including one or more unmanned aircrafts, will allow the graduate of the educational organization to be awarded the qualification “External pilot”, which, in turn, will also improve the quality of the above-mentioned subdivisions.

A wildland fire is an uncontrolled fire that occurs mainly in forest areas, although it can also invade urban or agricultural areas. Among the main causes of wildfires, human factors, either intentional or accidental, are the most usual ones. The number and impact of forest fires are expected to grow as a consequence of the global warming. In order to fight against these disasters, it is necessary to adopt a comprehensive, multifaceted approach that enables a continuous situational awareness and instant responsiveness. This paper describes a hierarchical wireless sensor network aimed atearly fire detection in risky areas, integrated with the fire fighting command centres, geographical information systems, and fire simulators. This configuration has been successfully tested in two fire simulations involving all the key players in fire fighting operations: fire brigades, communication systems, and aerial, coordination, and land means.

The Southern Alps, in particular the Canton Ticino, is the region of Switzerland that is most affected by the phenomenon of forest fires. Therefore, the cantonal authorities are continually confronted with problems of prevention, fire fighting and mitigation of the effects of forest fires. In this article forest fire management in Canton Ticino is analyzed in historical terms, verifying in particular the impact of the methods used and the improvement of technology addressing the frequency of events and the extent of burned surfaces. In this way it has been possible to show how a few structural measures (better organization of fire fighting crews and equipment, introduction of aerial fire fighting techniques, electrification followed by construction of shelters along railway lines, etc.) have rather reduced the extent of burned surfaces, while legislative measures such as restrictions of open fires help to reduce the number of forest fires.

The advances in autonomous technologies and microelectronics have increased the use of Autonomous Unmanned Aerial Vehicles (UAVs) in more critical applications, such as forest fire monitoring and fighting. In addition, implementing surveillance methods that provide rich information about the fires is considered a great tool for Emergency Response Teams (ERT). From this aspect and in collaboration with Telefónica Digital España, Dronitec S.L, and Divisek Systems, this paper presents a fire monitoring system based on perception algorithms, implemented on a UAV, to perform surveillance tasks allowing the monitoring of a specific area, in which several algorithms have been implemented to perform the tasks of autonomous take-off/landing, trajectory planning, and fire monitoring. This UAV is equipped with RGB and thermal cameras, temperature sensors, and communication modules in order to provide full information about the fire and the UAV itself, sending these data to the ground station in real time. The presented work is validated by performing several flights in a real environment, and the obtained results show the efficiency and the robustness of the proposed system, against different weather conditions.

With the growth of technology and massive city development, firefighting services have become more challenging to cope with a smart-city concept. One of the challenges that firefighters are facing is reaching the top floors of high-raised buildings. Firefighters need heavy and oversized pieces of equipment to reach top floors, which they sometimes fail to deliver on time due to big cities' traffic. The proposed solution to this global problem is using firefighting unmanned aerial vehicle (UAV) to reach the top floors fast and efficiently; It can also provide a better vision for the firefighting team and slow down the spread of fire using fire extinguishing ball. In this paper, a noble design for a Firefighting UAV with shooting and dropping mechanism of fire extinguishing ball has been developed and successfully tested. A Camera with night vision has been integrated into the UAV to provide a helpful aid for firefighters. The UAV has a controller with a 2.4 GHz radio frequency (RF) signal and video surveillance to regulate the UAV's movement. The controller is also for activating the shooting and dropping mechanism. The researchers examined the behavior of the drone in terms of its stability and functionality.

Aerial ladder fire truck is a kind of fire-fighting truck which is used for rescue of people and goods from high altitude locations. The aerial ladders of the fire truck are typically nested U-shaped truss structures manufactured with thin-walled steel by welding. Compared with close-shaped truss structures, their stiffnesses are relatively low. This means that they are quite slender structures, and they will deflect quite significantly due to their own weight and the working loads applied. If the original design of the ladder is straight, then the ladder will deform to a ‘fishing-rod’ shape in the air. The consequent ‘bent-down’ shape of the deformed ladder causes significant inconvenience during rescuing operations. To deal with this issue, a practical solution to the problem is that the ladder is manufactured with an appropriate uptilted curved shape, and it could deform to an approximately straight ladder when it is under certain desired working condition. In this paper, the effectiveness of the curved ladder design proposed in this paper has been validated by both finite element analysis and experimental results.

Wildfires represent a significant natural risk causing economic losses, human death and environmental damage. In recent years, the world has seen an increase in fire intensity and frequency. Research has been conducted towards the development of dedicated solutions for wildland fire assistance and fighting. Systems were proposed for the remote detection and tracking of fires. These systems have shown improvements in the area of efficient data collection and fire characterization within small-scale environments. However, wildland fires cover large areas making some of the proposed ground-based systems unsuitable for optimal coverage. To tackle this limitation, unmanned aerial vehicles (UAV) and unmanned aerial systems (UAS) were proposed. UAVs have proven to be useful due to their maneuverability, allowing for the implementation of remote sensing, allocation strategies and task planning. They can provide a low-cost alternative for the prevention, detection and real-time support of firefighting. In this paper, previous works related to the use of UAV in wildland fires are reviewed. Onboard sensor instruments, fire perception algorithms and coordination strategies are considered. In addition, some of the recent frameworks proposing the use of both aerial vehicles and unmanned ground vehicles (UGV) for a more efficient wildland firefighting strategy at a larger scale are presented.

SUMMARY: Innovations introduced in firefighting practice should help maximise the cost/benefit relation. One of the largest costs of firefighting in Croatia is the cost of aerial firefighting. The majority of the costs are incurred by the procurement, maintenance and actual operation of the hydroplane Bombardier CL-415. Published data indicate that these costs are significantly underestimated in Croatia. The paper purports to show the actual costs of wildfire fighting using these planes. An additional cost, if class A foam is used, amounts to 12-13% of total costs. One of the conclusions is that in order to increase the total efficiency of fire extinguishing and cut the cost would be to use Class A foam, since the extra cost is, most likely, significantly smaller than the proven advantages of this agent.

The aim of this paper is to show the possibility of using UAV by airport managers. With a few exceptions, there are no studies on this issue. This article is an attempt to fill these research gap. This article is based on the results of studies of the Department of Air Technologies of the Silesian University of Technology, Civil Aviation Personnel Education Centre of Central and Eastern Europe Silesian University of Technology, RPAS TEAM functioning within the Centre. It has been reported that the airport’s UAV may serve such services as: Airport Protection Service (patrolling and protecting area near aerodrome), Rescue and Fire Fighting Services (accident area monitoring), airport maintenance and infrastructure services (monitoring and inspection of buildings, pavements, roads, installations), operational departments or duty departments (better visualization of the operational situation).

The recent huge technological development of unmanned aerial vehicles (UAVs) can provide breakthrough means of fighting wildland fires. We propose an innovative forest firefighting system based on the use of a swarm of hundreds of UAVs able to generate a continuous flow of extinguishing liquid on the fire front, simulating the effect of rain. Automatic battery replacement and extinguishing liquid refill ensure the continuity of the action. We illustrate the validity of the approach in Mediterranean scrub first computing the critical water flow rate according to the main factors involved in the evolution of a fire, then estimating the number of linear meters of active fire front that can be extinguished depending on the number of drones available and the amount of extinguishing fluid carried. A fire propagation cellular automata model is also employed to study the evolution of the fire. Simulation results suggest that the proposed system can provide the flow of water required to fight low-intensity and limited extent fires or to support current forest firefighting techniques.

Introduction. Fires in high-rise buildings and structures constitute a grave danger both to the people inside, valuables, and the building structure. More often than not, fires develop on the external surface of construction facilities that are in operation or inside those facilities that are under construction, and they give rise to the problem of using standard fire extinguishing solutions and require the employment of mobile machinery by fast response units of the fire-fighting service who apply fire extinguishing agents from the outside of a building. The purpose of this article is to substantiate the in expediency of, or, on the contrary, the need to make the proposed amendments to Federal Law No. 123-FZ of July 22, 2008 “Technical Regulation of Fire Safety Requirements”.The scope of the problem. The analysis of the effectiveness of various methods of application of fire extinguishing agents used to extinguish outdoor fires in high-rise buildings has shown the insufficiently high efficiency of ground-mounted machinery, which preconditions the need to make an enquiry into the possibility of using aircraft to extinguish high-rise buildings and structures. Given the need to ensure effective fire extinguishing, meet safety and economic feasibility requirements, an autonomous unmanned aerial vehicle (AURA) was selected as the delivery vehicle. Systems using various fire extinguishing agents and methods of their application were used for fire extinguishing purposes, including a pulsed water application system, capsules containing the fire extinguishing composition, high-pressure water mist and compressed air foam. Their applicability at the height of 300 meters has determined their choice.Research results. The testing task was to confirm the possibility of application of fire extinguishing agents to the fire seat in the course of the flight of an unmanned aerial vehicle, to identify the effectiveness of fire extinguishing agents and to assess the stability of extinguishing agents applied to the fire seat. To ensure safety, testing was carried out at the height not exceeding 10 m, and the results confirmed the possibility of using the above substances to extinguish fires.Conclusions. The research has confirmed the possibility of using unmanned aerial vehicles and various methods of fire extinguishing by means of the horizontal application of extinguishing agents inside high-rise buildings and structures, if extinguishing agents are applied from outside of a construction facility.

In Europe, fire represents an important issue for a lot of researchers due to economic losses, environmental disasters, and human death. In the last decade, the European parliament sheds light upon this problem by dealing with the community project” Forest Focus”. Thus, researchers and scientific research departments of European companies begin to work on solving and creating different techniques to deal with such a problem, these research centers found that the most attractive and accurate way of solving such a problem was using an Unmanned Aerial Vehicle (UAV). In this paper, the research center at Drone Hopper Company analysis the deficiencies for forest fire fighting systems, in order to start designing its new prototype of a special drone named WILD HOPPER, solving all the shortcomings of similar systems. This paper is the first of a group of research papers that will take place during designing and producing our WILD-HOPPER system.

The ability for an aircraft to fly during a much extended period of time has become a key issue and a target of research, both in the domain of civilian aviation and unmanned aerial vehicles. This paper describes a new design and evaluating of solar wind aircraft with the objective to assess the impact of a new system design on overall flight crew performance. The required endurance is in the range of some hours in the case of law enforcement, border surveillance, forest fire fighting or power line inspection. However, other applications at high altitudes, such as geomatic operations for delivering geographic information, weather research and forecast, environmental monitoring, would require remaining airborne during days, weeks or even months. The design of GNSS non precision approach procedure for different airports is based on geomatic data.

Unmanned Aerial Systems, hereafter referred to as UAS, are of great use in hazard events such as wildfire due to their ability to provide high-resolution video imagery over areas deemed too dangerous for manned aircraft and ground crews. This aerial perspective allows for identification of ground-based hazards such as spot fires and fire lines, and to communicate this information with fire fighting crews. Current technology relies on visual interpretation of UAS imagery, with little to no computer-assisted automatic detection. With the help of big labeled data and the significant increase of computing power, deep learning has seen great successes on object detection with fixed patterns, such as people and vehicles. However, little has been done for objects, such as spot fires, with amorphous and irregular shapes. Additional challenges arise when data are collected via UAS as high-resolution aerial images or videos; an ample solution must provide reasonable accuracy with low delays. In this paper, we examined 4K ( 3840 × 2160 ) videos collected by UAS from a controlled burn and created a set of labeled video sets to be shared for public use. We introduce a coarse-to-fine framework to auto-detect wildfires that are sparse, small, and irregularly-shaped. The coarse detector adaptively selects the sub-regions that are likely to contain the objects of interest while the fine detector passes only the details of the sub-regions, rather than the entire 4K region, for further scrutiny. The proposed two-phase learning therefore greatly reduced time overhead and is capable of maintaining high accuracy. Compared against the real-time one-stage object backbone of YoloV3, the proposed methods improved the mean average precision(mAP) from 0 . 29 to 0 . 67 , with an average inference speed of 7.44 frames per second. Limitations and future work are discussed with regard to the design and the experiment results.

The article presents the results of a system analysis of the use of unmanned aerial vehicles (UAVs), including for agricultural technologies, as well as airplanes and helicopters for fighting fires. Based on the results of the analysis, a systemic synthesis of a hybrid aircraft was carried out to integrate the solution of these problems, which is the airship. It is shown that airships are mobile, reliable and autonomous means, with a high carrying capacity and weight return, versatility of use and low total cost: 10 times less than the manufacture of a helicopter and 100 times lower than its operating costs. At the same time, unlike UAVs, airships allow the use of nanotechnology (membrane, thermomagnetic) separation of atmospheric gases as an “endless source of fire extinguishing composition” to suppress ignitions and landscape fires, and also solve all UAV tasks, including innovations in agricultural technologies.

Rescue and fire-fighting vehicles and other vehicles used by the fire department, such as tankers and aerial ladder trucks have typically a high centre of gravity. Driving such vehicles involves the danger of transverse stability loss and rolling over. This problem is augmented by inadequate driver experience due to the low mileage of emergency vehicles. The safety of a moving vehicle largely depends on its driving characteristics, which can be studied and compared, and these in turn can be the basis for the evaluation of the vehicle safety with a specific body design.The aim of the study was to develop a set of measuring devices for identifying driving properties for trucks. A dynamics study was conducted using constructed prototype solutions for selected trucks with a high centre of gravity, including emergency vehicles for fire departments. The study was performed during selected standard road tests for determining driveability properties. Three road tests were used to assess the road stability and manoeuvrability of the vehicles: driving in a circle in predetermined conditions, steering wheel jump while driving straight ahead, and braking while driving in a circle. The results of this study allow determining the characteristic values of parameters describing vehicle behaviour in each test and a comparative assessment of their safety in traffic. Moreover, the study constituted a verification of the developed system that can be used for dynamics tests and the evaluation of vehicle safety.

Unmanned Aerial Vehicles (UAVs) with acceptable performance are becoming commercially available at an affordable cost. Due to this, the use of drones for real-time data collection is becoming common practice by individual practitioners in the areas of e.g., precision agriculture and civil defense such as fire fighting. At the same time, as UAVs become a house-hold item, a plethora of issues—which can no longer be ignored and considered niche problems—are coming of age. These range from legal and ethical questions to technical matters such as how to implement and operate a communication infrastructure to maintain control over deployed devices. With these issues being addressed, approaches that focus on enabling collectives of devices to operate semi-autonomously are also increasing in relevance. In this article we present a nature-inspired algorithm that enables a UAV-swarm to operate as a collective which provides real-time data such as video footage. The collective is able to autonomously adapt to changing resolution requirements for specific locations within the area under surveillance. Our distributed approach significantly reduces the requirements on the communication infrastructure and mitigates the computational cost otherwise incurred. In addition, if the UAVs themselves were to be equipped with even rudimentary data-analysis capabilities, the swarm could react in real-time to the data it generates and self-regulate which locations within its operational area it focuses on. The approach was tested in a swarm of 25 UAVs; we present out preliminary performance evaluation.

В статье рассмотрены вопросы, касающиеся оценки возможностей авиации МЧС России по сохранению высокой производительности доставки огнетушащего вещества (воды) к очагу природного пожара в неблагоприятных условиях аэродромного маневра. Актуальность материалов статьи обусловлена следующим: с одной стороны, наиболее эффективным способом тушения природных пожаров в настоящее время является применение самолетов-танкеров с большим объемом сбрасываемой жидкости, а с другой, - слабая аэродромная сеть, обеспечивающая полную заправку самолетов водой, в районах страны, наиболее проблемных в пожарном отношении. В статье представлены расчеты, показывающие, что в целом существуют возможности повышения производительности доставки воды к очагу пожара за счет использования грунтовых аэродромов. Вместе с тем сделаны выводы о том, что реализовывать эти возможности следует с учетом экономической и технической целесообразности, базирующейся на выявленных соотношениях производительности, готовности аэродромных служб к заправкам самолетов водой и топливом на аэродромах маневра, возможностях по использованию грунтовых аэродромов. Представлены дополнительные методы оценки возможностей по использованию грунтовых аэродромов в процессе тушения с применением авиации природных пожаров, отсутствующие в инструкциях и руководствах по летной эксплуатации самолетов - «водяных танкеров». The article considers the issues of assessing the aviation capability of EMERCOM of Russia on supporting high delivery capacity of extinguishing agent (water) to the site of natural fire in unfavorable conditions for airfield maneuver. The relevance of the article is due to the following factors. On the one hand, the use of aircraft-tankers with large volume of discharged fluid is currently the most effective method for fighting natural fires. On the other hand, there is weak airfield network providing refueling aircraft with water in areas of the country that are most problematic in relation to fire. The article presents calculations showing that, in general, there are opportunities to increase the productivity of water delivery to the fire site with the use of unpaved airfields. It is concluded that these opportunities should be implemented taking into account the economic and technical advisability. This advisability should be based on the identified performance ratios, on the readiness of airfield services to refuel aircraft with water and fuel at maneuver airfields, as well as on the capabilities for using unpaved airfields. There are submitted additional procedures for assessing the possibilities of using unpaved airfields in the process of aerial firefighting of natural fires. Such procedures are not presented in the methodologies that are placed in instructions and flight operation manuals for the aircraft - “water tankers”.

This paper consists of the design and analysis of the strength of material composite of the fuselage of a Belly-Landing Mini Unmanned Aerial Vehicle (UAV). A belly landing UAV occurs when an UAV lands without its landing gear and uses its underside, or belly, as its primary landing device. Belly landings carry the risk that the UAV may flip over, disintegrate, or catch fire if it lands too fast or too hard [1], so the more important designs parameters for materials used are the specific strength and specific stiffness. Specific strength is defined as the ultimate tensile strength divided by material density, and specific stiffness is defined as Young’s modulus of the material divided by density [Franklin, 2010]. The aim of this Belly Landing Mini UAV is for used in situations where manned flight is considered too risky or difficult and no runway for take-off or landing, such as fire fighting surveillance, while the term 'mini’ means the design of this UAV has a launch mass greater than 100 grams but less than 100 kilograms [2], the objective of this project is the development and design of materials fuselage of a mini UAV with two layer sandwich structures made from composite materials and epoxy resin. For that purposes, 3 variations of the composite materials tensile test specimens have been manufactured in accordance with ASTM D3039 standard and tested its strength. The results showed that the fibre glass and fibre carbon composite with resin epoxy has the maximum tensile strength and Young’s modulus, so that the fabrication and manufacturing of the fuselage component is made by using that material composite. The Von Mises stress is used to predict yielding of materials under any loading condition from results of simple uniaxial tensile tests by using software Autodesk Inventor 2012. The results show that the design is safe caused the strength of material is greater than the maximum value of Von Mises stress induced in the material. The results of flight tests show that this small UAV has successfully manoeuvred to fly, such as take off, some acrobatics when cruising and landing smoothly, which means that the calculation and analysis of structure and material used on the fuselage of the Mini UAV was able to be validated.

Considering that there are promising ways to combat unmanned licensed vehicles for other field warehouses stored in combat situations. The experience of conducting the Joint Forces Operation (ATO) in eastern Ukraine, as well as the negative cases that have recently occurred in the field artillery depots and stationary arsenals (bases) of the Armed Forces of Ukraine, shows that the system of storage of missiles and ammunition in the field artillery depots of The Ukrainian forces are outdated and need major upgrading and modernization. Based on the analysis of the provision of troops with missiles and ammunition, for the period from 2015 to 2016 for the destruction of ammunition storage facilities, both stationary (arsenals, ammunition storage bases of the Armed Forces of Ukraine) and field depots of the units of Incorporated Forces effectively uses unmanned aerial vehicles (UAVs). The most illustrative examples of UAVs are: fire and explosion at the field warehouse of ammunition storage at the combined RAW field warehouses (Svatovo, Lugansk region) on October 29, 2015; attempt to carry out a diversion at the arsenal of storage of missiles and ammunition (Balakley) with the help of UAV December 26, 2015 (dropping packages with incendiary mixture that could not be extinguished by ordinary fire extinguishing means); fire on the territory of the munitions field warehouse on February 18, 2016 of a military unit located near the settlement of Grodivka of Donetsk region (use by a UAV enemy, who in turn dropped the packet with incendiary mixture on the ammunition stack); the fire that occurred on February 17, 2016 as a result of the dropping of incendiary and fragmentation ammunition from the UAV over the rear control post of the military unit (Zaporizhzhia region, Kuibyshevsky district, Vershina village); fire that resulted from dropping explosive devices from UAVs on February 18, 2016 (Cherkasy village, Dnipropetrovsk region). The enemy still uses unmanned aerial vehicles to destroy the ammunition of the Armed Forces of Ukraine. The system of storage of missiles and ammunition in field artillery depots is a set of forces and means, as well as measures of organizational, economic, legal, social and scientific-technical character, aimed at maintaining stable functioning and preventing explosions and fires and losses from them in storage sites and explosives.

In recent years, large patches of forest have been destroyed by fires, bringing tragic consequences for the environment and small settlements established around these regions. In this context, it is essential that fire fighting teams possess an increased situational awareness about the fire propagation, in order to promptly act in the extinguishing process. Recent advances in UAV technology allied with remote sensing and computer vision techniques show very promising UAVs applicability in forest fires detection and monitoring. Besides presenting lower operational costs, these vehicles are able to reach regions that are inaccessible or considered too dangerous for fire fighting crews operations. This paper describes the application of a real-time forest fire detection algorithm using aerial images captured by a video camera onboard an Unmanned Aerial Vehicle (UAV). The forest fire detection algorithm consists of a rule-based colour model that uses both RGB and YCbCr colour spaces to identify fire pixels. An intuitive targeting system was also developed, allowing the detection of multiple fires at the same time. Additionally, a fire geolocation algorithm was developed in order to estimate the fire location in terms of latitude (φ), longitude (λ) and altitude (h). The geolocation algorithm consists of applying two coordinates systems transformations between the body-fixed frame, North-East-Down frame (NED) and Earth-Centered, Earth Fixed (ECEF) frame. Flight tests were performed during a controlled burn in order to assess the fire detection algorithm performance. The algorithm was able to detect the fire with few false positive detections. Keywords: Aerial fire detection algorithm, Aerial fire monitoring, Forest fire, UAV, Remote sensing

O Brasil, com uma superfície de 8.514.215,3 km2 (IBGE, 2004), possui pouco mais de 8% de seu território protegido por unidades de conservação (MMA, 2004). Sua grande diversidade de ecossistemas, aliada às usuais técnicas de manejo da terra e condições climáticas adversas, resulta em uma ampla gama de condições propícias à ocorrência de incêndios florestais de grandes proporções. Comparativamente a outras nações, com menores dimensões e que chegam a dispor de dezenas de aeronaves com capacidade de até 42.000 litros de água ou retardante químico para o combate a incêndios, temos oficialmente apenas uma aeronave de asa fixa especializada no combate a incêndios florestais, além de helicópteros e aviões de reconhecimento sob responsabilidade do IBAMA e de órgãos estaduais de meio ambiente. O COMBFOGO – Esquadrão Aéreo de Combate a Incêndio Florestal (ONG) é uma iniciativa pioneira da sociedade brasileira, visando a minimização dos danos causados pelo fogo ao meio ambiente e com especial enfoque nas Unidades de Conservação. A proposta da organização é a utilização de aeronaves com baixos valores de aquisição e custo operacional, homologadas para o patrulhamento e combate a incêndios florestais, que após pequenas adaptações em seu interior, permitem o lançamento de bombas de água ou retardante químico. Estas aeronaves alcançam uma capacidade total de 300 litros e terão o efeito de retardar o avanço do fogo até a chegada das brigadas terrestres. WATER BOMBING METHODOLOGY FOR AERIAL WILDFIRE FIGHTING Abstract Brazil, which has a territory of 8.514.215,3 sq.km , with 692.205.700 ha of conservation areas, officially relies on a single aircraft dedicated exclusively to wildfire fighting. On the other hand, other nations with smaller dimensions have dozens of such aircraft with load capacities up to 42.000 litters of water or chemical agents, that help both in wildfire fighting and reforesting. COMBFOGO represents an initiative of Brazilian society to minimize that hazard of the wildfires to the environment. This initiative is based in the use of aircraft already present in Brazilian market, with low acquisition and operating costs, authorized for search and combat of such fires. The aircraft should require minor interior modifications to be able to carry and launch water or chemical agent 25 litter bombs. These bombs will slow down the fire advance and give more time to the fire brigades to reach the area.

IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists presented as characters in a fictional world, cutting-edge lighting and visuals, extraordinary innovative staging, and the uptake of new technology for special effects can all be linked back to an early form of circus which is sometimes termed illegitimate circus. In the late 18th century and early 19th century, in the age of Romanticism, only two theatres in London, Covent Garden and Drury Lane, plus the summer theatre in the Haymarket, had royal patents allowing them to produce plays or text-based productions, and these were considered legitimate theatres. (These theatres retained this monopoly until the Theatre Regulation Act of 1843; Saxon 301.) Other circuses and theatres such as Astley’s Amphitheatre, which were precluded from performing text-based works by the terms of their licenses, have been termed illegitimate (Moody 1). Perversely, the effect of licensing venues in this way, instead of having the desired effect of enshrining some particular forms of expression and “casting all others beyond the cultural pale,” served instead to help to cultivate a different kind of theatrical landscape, “a theatrical terrain with a new, rich and varied dramatic ecology” (Reed 255). A fundamental change to the theatrical culture of London took place, and pivotal to “that transformation was the emergence of an illegitimate theatrical culture” (Moody 1) with circus at its heart. An innovative and different form of performance, a theatre of the body, featuring spectacle and athleticism emerged, with “a sensuous, spectacular aesthetic largely wordless except for the lyrics of songs” (Bratton 117).This writing sets out to explore some of the strong parallels between the aesthetic that emerged in this early illegitimate circus and the aesthetic of the Montreal-based, multi-billion dollar entertainment empire of Cirque du Soleil. Although it is not fighting against legal restrictions and can in no way be considered illegitimate, the circus of Cirque du Soleil can be seen to be the descendant of the early circus entrepreneurs and their illegitimate aesthetic which arose out of the desire to find ways to continue to attract audiences to their shows in spite of the restrictions of the licenses granted to them. BackgroundCircus has served as an inspiration for many innovatory theatre productions including Peter Brook’s Midsummer Night’s Dream (1970) and Tom Stoppard’s Jumpers (1972) as well as the earlier experiments of Meyerhold, Eisenstein, Mayakovsky and other Soviet directors of the 1920’s (Saxon 299). A. H. Saxon points out, however, that the relationship between circus and theatre is a long-standing one that begins in the late 18th century and the early 19th century, when circus itself was theatre (Saxon 299).Modern circus was founded in London in 1768 by an ex-cavalryman and his wife, Philip and Patty Astley, and consisted of spectacular stunt horse riding taking place in a ring, with acts from traditional fairs such as juggling, acrobatics, clowning and wire-walking inserted to cover the changeovers between riding acts. From the very first shows entry was by paid ticket only and the early history of circus was driven by innovative, risk-taking entrepreneurs such as Philip Astley, who indeed built so many new amphitheatres for his productions that he became known as Amphi-Philip (Jando). After years of legal tussles with the authorities concerning the legal status of this new entertainment, a limited license was finally granted in 1783 for Astley’s Amphitheatre. This license precluded the performing of plays, anything text-based, or anything which had a script that resembled a play. Instead the annual license granted allowed only for “public dancing and music” and “other public entertainments of like kind” (St. Leon 9).Corporeal Dramaturgy and TextIn the face of the ban on scripted text, illegitimate circus turned to the human body and privileged it as a means of dramatic expression. A resultant dramaturgy focusing on the expressive capabilities of the performers’ bodies emerged. “The primacy of rhetoric and the spoken word in legitimate drama gave way […] to a corporeal dramaturgy which privileged the galvanic, affective capacity of the human body as a vehicle of dramatic expression” (Moody 83). Moody proposes that the “iconography of illegitimacy participated in a broader cultural and scientific transformation in which the human body began to be understood as an eloquent compendium of visible signs” (83). Even though the company has the use of text and dramatic dialogue freely available to it, Cirque du Soleil, shares this investment in the bodies of the performers and their “galvanic, affective capacity” (83) to communicate with the audience directly without the use of a scripted text, and this remains a constant between the two forms of circus. Robert Lepage, the director of two Cirque du Soleil shows, KÀ (2004) and more recently Totem (2010), speaking about KÀ in 2004, said, “We wanted it to be an epic story told not with the use of words, but with the universal language of body movement” (Lepage cited in Fink).In accordance with David Graver’s system of classifying performers’ bodies, Cirque du Soleil’s productions most usually present performers’ ‘character bodies’ in which the performers are understood by spectators to be playing fictional roles or characters (Hurley n/p) and this was also the case with illegitimate circus which right from its very beginnings presented its performers within narratives in which the performers are understood to be playing characters. In Cirque du Soleil’s shows, as with illegitimate circus, this presentation of the performers’ character bodies is interspersed with acts “that emphasize the extraordinary training and physical skill of the performers, that is which draw attention to the ‘performer body’ but always within the context of an overall narrative” (Fricker n.p.).Insertion of Vital TextAfter audience feedback, text was eventually added into KÀ (2004) in the form of a pre-recorded prologue inserted to enable people to follow the narrative arc, and in the show Wintuk (2007) there are tales that are sung by Jim Comcoran (Leroux 126). Interestingly early illegitimate circus creators, in their efforts to circumvent the ban on using dramatic dialogue, often inserted text into their performances in similar ways to the methods Cirque du Soleil chose for KÀ and Wintuk. Illegitimate circus included dramatic recitatives accompanied by music to facilitate the following of the storyline (Moody 28) in the same way that Cirque du Soleil inserted a pre-recorded prologue to KÀ to enable audience members to understand the narrative. Performers in illegitimate circus often conveyed essential information to the audience as lyrics of songs (Bratton 117) in the same way that Jim Comcoran does in Wintuk. Dramaturgical StructuresAstley from his very first circus show in 1768 began to set his equestrian stunts within a narrative. Billy Button’s Ride to Brentford (1768), showed a tailor, a novice rider, mounting backwards, losing his belongings and being thrown off the horse when it bucks. The act ends with the tailor being chased around the ring by his horse (Schlicke 161). Early circus innovators, searching for dramaturgy for their shows drew on contemporary warfare, creating vivid physical enactments of contemporary battles. They also created a new dramatic form known as Hippodramas (literally ‘horse dramas’ from hippos the Attic Greek for Horse), a hybridization of melodrama and circus featuring the trick riding skills of the early circus pioneers. The narrative arcs chosen were often archetypal or sourced from well-known contemporary books or poems. As Moody writes, at the heart of many of these shows “lay an archetypal narrative of the villainous usurper finally defeated” (Moody 30).One of the first hippodramas, The Blood Red Knight, opened at Astley’s Amphitheatre in 1810.Presented in dumbshow, and interspersed with grand chivalric processions, the show featured Alphonso’s rescue of his wife Isabella from her imprisonment and forced marriage to the evil knight Sir Rowland and concluded with the spectacular, fiery destruction of the castle and Sir Rowland’s death. (Moody 69)Another later hippodrama, The Spectre Monarch and his Phantom Steed, or the Genii Horseman of the Air (1830) was set in China where the rightful prince was ousted by a Tartar usurper who entered into a pact with the Spectre Monarch and received,a magic ring, by aid of which his unlawful desires were instantly gratified. Virtue, predictably won out in the end, and the discomforted villain, in a final settling of accounts with his dread master was borne off through the air in a car of fire pursued by Daemon Horsemen above THE GREAT WALL OF CHINA. (Saxon 303)Karen Fricker writes of early Cirque du Soleil shows that “while plot is doubtless too strong a word, each of Cirque’s recent shows has a distinct concept or theme, that is urbanity for Saltimbanco; nomadism in Varekai (2002) and humanity’s clownish spirit for Corteo (2005), and tend to follow the same very basic storyline, which is not narrated in words but suggested by the staging that connects the individual acts” (Fricker n/p). Leroux describes the early Cirque du Soleil shows as following a “proverbial and well-worn ‘collective transformation trope’” (Leroux 122) whilst Peta Tait points out that the narrative arc of Cirque du Soleil “ might be summarized as an innocent protagonist, often female, helped by an older identity, seemingly male, to face a challenging journey or search for identity; more generally, old versus young” (Tait 128). However Leroux discerns an increasing interest in narrative devices such as action and plot in Cirque du Soleil’s Las Vegas productions (Leroux 122). Fricker points out that “with KÀ, what Cirque sought – and indeed found in Lepage’s staging – was to push this storytelling tendency further into full-fledged plot and character” (Fricker n/p). Telling a story without words, apart from the inserted prologue, means that the narrative arc of Kà is, however, very simple. A young prince and princess, twins in a mythical Far Eastern kingdom, are separated when a ceremonial occasion is interrupted by an attack by a tribe of enemy warriors. A variety of adventures follow, most involving perilous escapes from bad guys with flaming arrows and fierce-looking body tattoos. After many trials, a happy reunion arrives. (Isherwood)This increasing emphasis on developing a plot and a narrative arc positions Cirque as moving closer in dramaturgical aesthetic to illegitimate circus.Visual TechnologiesTo increase the visual excitement of its shows and compensate for the absence of spoken dialogue, illegitimate circus in the late 18th and early 19th century drew on contemporaneous and emerging visual technologies. Some of the new visual technologies that Astley’s used have been termed pre-cinematic, including the panorama (or diorama as it is sometimes called) and “the phantasmagoria and other visual machines… [which] expanded the means through which an audience could be addressed” (O’Quinn, Governance 312). The panorama or diorama ran in the same way that a film runs in an analogue camera, rolling between vertical rollers on either side of the stage. In Astley’s production The Siege and Storming of Seringapatam (1800) he used another effect almost equivalent to a modern day camera zoom-in by showing scenic back drops which, as they moved through time, progressively moved geographically closer to the battle. This meant that “the increasing enlargement of scale-each successive scene has a smaller geographic space-has a telescopic event. Although the size of the performance space remains constant, the spatial parameters of the spectacle become increasingly magnified” (O’Quinn, Governance 345). In KÀ, Robert Lepage experiments with “cinematographic stage storytelling on a very grand scale” (Fricker n.p.). A KÀ press release (2005) from Cirque du Soleil describes the show “as a cinematic journey of aerial adventure” (Cirque du Soleil). Cirque du Soleil worked with ground-breaking visual technologies in KÀ, developing an interactive projected set. This involves the performers controlling what happens to the projected environment in real time, with the projected scenery responding to their movements. The performers’ movements are tracked by an infra-red sensitive camera above the stage, and by computer software written by Interactive Production Designer Olger Förterer. “In essence, what we have is an intelligent set,” says Förterer. “And everything the audience sees is created by the computer” (Cirque du Soleil).Contemporary Technology Cutting edge technologies, many of which came directly from contemporaneous warfare, were introduced into the illegitimate circus performance space by Astley and his competitors. These included explosions using redfire, a new military explosive that combined “strontia, shellac and chlorate of potash, [which] produced […] spectacular flame effects” (Moody 28). Redfire was used for ‘blow-ups,’ the spectacular explosions often occurring at the end of the performance when the villain’s castle or hideout was destroyed. Cirque du Soleil is also drawing on contemporary military technology for performance projects. Sparked: A Live interaction between Humans and Quadcopters (2014) is a recent short film released by Cirque du Soleil, which features the theatrical use of drones. The new collaboration between Cirque du Soleil, ETH Zurich and Verity Studios uses 10 quadcopters disguised as animated lampshades which take to the air, “carrying out the kinds of complex synchronized dance manoeuvres we usually see from the circus' famed acrobats” (Huffington Post). This shows, as with early illegitimate circus, the quick theatrical uptake of contemporary technology originally developed for use in warfare.Innovative StagingArrighi writes that the performance space that Astley developed was a “completely new theatrical configuration that had not been seen in Western culture before… [and] included a circular ring (primarily for equestrian performance) and a raised theatre stage (for pantomime and burletta)” (177) joined together by ramps that were large enough and strong enough to allow horses to be ridden over them during performances. The stage at Astley’s Amphitheatre was said to be the largest in Europe measuring over 130 feet across. A proscenium arch was installed in 1818 which could be adjusted in full view of the audience with the stage opening changing anywhere in size from forty to sixty feet (Saxon 300). The staging evolved so that it had the capacity to be multi-level, involving “immense [moveable] platforms or floors, rising above each other, and extending the whole width of the stage” (Meisel 214). The ability to transform the stage by the use of draped and masked platforms which could be moved mechanically, proved central to the creation of the “new hybrid genre of swashbuckling melodramas on horseback, or ‘hippodramas’” (Kwint, Leisure 46). Foot soldiers and mounted cavalry would fight their way across the elaborate sets and the production would culminate with a big finale that usually featured a burning castle (Kwint, Legitimization 95). Cirque du Soleil’s investment in high-tech staging can be clearly seen in KÀ. Mark Swed writes that KÀ is, “the most lavish production in the history of Western theatre. It is surely the most technologically advanced” (Swed). With a production budget of $165 million (Swed), theatre designer Michael Fisher has replaced the conventional stage floor with two huge moveable performance platforms and five smaller platforms that appear to float above a gigantic pit descending 51 feet below floor level. One of the larger platforms is a tatami floor that moves backwards and forwards, the other platform is described by the New York Times as being the most thrilling performer in the show.The most consistently thrilling performer, perhaps appropriately, isn't even human: It's the giant slab of machinery that serves as one of the two stages designed by Mark Fisher. Here Mr. Lepage's ability to use a single emblem or image for a variety of dramatic purposes is magnified to epic proportions. Rising and falling with amazing speed and ease, spinning and tilting to a full vertical position, this huge, hydraulically powered game board is a sandy beach in one segment, a sheer cliff wall in another and a battleground, viewed from above, for the evening's exuberantly cinematic climax. (Isherwood)In the climax a vertical battle is fought by aerialists fighting up and down the surface of the sand stone cliff with defeated fighters portrayed as tumbling down the surface of the cliff into the depths of the pit below. Cirque du Soleil’s production entitled O, which phonetically is the French word eau meaning water, is a collaboration with director Franco Dragone that has been running at Las Vegas’ Bellagio Hotel since 1998. O has grossed over a billion dollars since it opened in 1998 (Sylt and Reid). It is an aquatic circus or an aquadrama. In 1804, Charles Dibdin, one of Astley’s rivals, taking advantage of the nearby New River, “added to the accoutrements of the Sadler’s Wells Theatre a tank three feet deep, ninety feet long and as wide as twenty-four feet which could be filled with water from the New River” (Hays and Nickolopoulou 171) Sadler’s Wells presented aquadramas depicting many reconstructions of famous naval battles. One of the first of these was The Siege of Gibraltar (1804) that used “117 ships designed by the Woolwich Dockyard shipwrights and capable of firing their guns” (Hays and Nickolopoulou 5). To represent the drowning Spanish sailors saved by the British, “Dibdin used children, ‘who were seen swimming and affecting to struggle with the waves’”(5).O (1998) is the first Cirque production to be performed in a proscenium arch theatre, with the pool installed behind the proscenium arch. “To light the water in the pool, a majority of the front lighting comes from a subterranean light tunnel (at the same level as the pool) which has eleven 4" thick Plexiglas windows that open along the downstage perimeter of the pool” (Lampert-Greaux). Accompanied by a live orchestra, performers dive into the 53 x 90 foot pool from on high, they swim underwater lit by lights installed in the subterranean light tunnel and they also perform on perforated platforms that rise up out of the water and turn the pool into a solid stage floor. In many respects, Cirque du Soleil can be seen to be the inheritors of the spectacular illegitimate circus of the 18th and 19th Century. The inheritance can be seen in Cirque du Soleil’s entrepreneurial daring, the corporeal dramaturgy privileging the affective power of the body over the use of words, in the performers presented primarily as character bodies, and in the delivering of essential text either as a prologue or as lyrics to songs. It can also be seen in Cirque du Soleil’s innovative staging design, the uptake of military based technology and the experimentation with cutting edge visual effects. Although re-invigorating the tradition and creating spectacular shows that in many respects are entirely of the moment, Cirque du Soleil’s aesthetic roots can be clearly seen to draw deeply on the inheritance of illegitimate circus.ReferencesBratton, Jacky. “Romantic Melodrama.” The Cambridge Companion to British Theatre 1730-1830. Eds. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge University, 2007. 115-27. Bratton, Jacky. “What Is a Play? Drama and the Victorian Circus in the Performing Century.” Nineteenth-Century Theatre’s History. Eds. Tracey C. Davis and Peter Holland. Hampshire, UK: Palgrave Macmillan, 2007. 250-62.Cavendish, Richard. “Death of Madame Tussaud.” History Today 50.4 (2000). 15 Aug. 2014 ‹http://www.historytoday.com/richard-cavendish/death-madame-tussaud›.Cirque du Soleil. 2014. 10 Sep. 2014 ‹http://www.cirquedusoleil.com/en/home/about-us/at-a-glance.aspx›.Davis, Janet M. The Circus Age: Culture and Society under the American Big Top. Chapel Hill and London: University of North Carolina Press, 2002. Hays, Michael, and Anastasia Nikolopoulou. Melodrama: The Cultural Emergence of a Genre. New York: Palgrave Macmillan, 1999.House of Dancing Water. 2014. 17 Aug. 2014 ‹http://thehouseofdancingwater.com/en/›.Isherwood, Charles. “Fire, Acrobatics and Most of All Hydraulics.” New York Times 5 Feb. 2005. 12 Sep. 2014 ‹http://www.nytimes.com/2005/02/05/theater/reviews/05cirq.html?_r=0›.Fink, Jerry. “Cirque du Soleil Spares No Cost with Kà.” Las Vegas Sun 2004. 17 Sep. 2014 ‹http://www.lasvegassun.com/news/2004/sep/16/cirque-du-soleil-spares-no-cost-with-ka/›.Fricker, Karen. “Le Goût du Risque: Kà de Robert Lepage et du Cirque du Soleil.” (“Risky Business: Robert Lepage and the Cirque du Soleil’s Kà.”) L’Annuaire théâtral 45 (2010) 45-68. Trans. Isabelle Savoie. (Original English Version not paginated.)Hurley, Erin. "Les Corps Multiples du Cirque du Soleil." Globe: Revue Internationale d’Études Quebecoise. Les Arts de la Scene au Quebec, 11.2 (2008). (Original English n.p.)Jacob, Pascal. The Circus Artist Today: Analysis of the Key Competences. Brussels: FEDEC: European Federation of Professional Circus Schools, 2008. 5 June 2010 ‹http://sideshow-circusmagazine.com/research/downloads/circus-artist-today-analysis-key-competencies›.Jando, Dominique. “Philip Astley, Circus Owner, Equestrian.” Circopedia. 15 Sep. 2014 ‹http://www.circopedia.org/Philip_Astley›.Kwint, Marius. “The Legitimization of Circus in Late Georgian England.” Past and Present 174 (2002): 72-115.---. “The Circus and Nature in Late Georgian England.” Histories of Leisure. Ed. Rudy Koshar. Oxford: Berg Publishers, 2002. 45-60. ---. “The Theatre of War.” History Today 53.6 (2003). 28 Mar. 2012 ‹http://www.historytoday.com/marius-kwint/theatre-war›.Lampert-Greaux, Ellen. “The Wizardry of O: Cirque du Soleil Takes the Plunge into an Underwater World.” livedesignonline 1999. 17 Aug. 2014 ‹http://livedesignonline.com/mag/wizardry-o-cirque-du-soleil-takes-plunge-underwater-world›.Lavers, Katie. “Sighting Circus: Perceptions of Circus Phenomena Investigated through Diverse Bodies.” Doctoral Thesis. Perth, WA: Edith Cowan University, 2014. Leroux, Patrick Louis. “The Cirque du Soleil in Las Vegas: An American Striptease.” Revista Mexicana de Estudio Canadiens (Nueva Época) 16 (2008): 121-126.Mazza, Ed. “Cirque du Soleil’s Drone Video ‘Sparked’ is Pure Magic.” Huffington Post 22 Sep. 2014. 23 Sep. 2014 ‹http://www.huffingtonpost.com/2014/09/22/cirque-du-soleil-sparked-drone-video_n_5865668.html›.Meisel, Martin. Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England. Princeton, New Jersey: Princeton University Press, 1983.Moody, Jane. Illegitimate Theatre in London, 1770-1840. Cambridge: Cambridge University Press, 2000. O'Quinn, Daniel. Staging Governance: Teatrical Imperialism in London 1770-1800. Baltimore, Maryland, USA: Johns Hopkins University Press, 2005. O'Quinn, Daniel. “Theatre and Empire.” The Cambridge Companion to British Theatre 1730-1830. Eds. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge University Press, 2007. 233-46. Reed, Peter P. “Interrogating Legitimacy in Britain and America.” The Oxford Handbook of Georgian Theatre. Eds. Julia Swindells and Francis David. Oxford: Oxford University Press, 2014. 247-264.Saxon, A.H. “The Circus as Theatre: Astley’s and Its Actors in the Age of Romanticism.” Educational Theatre Journal 27.3 (1975): 299-312.Schlicke, P. Dickens and Popular Entertainment. London: Unwin Hyman, 1985.St. Leon, Mark. Circus: The Australian Story. Melbourne: Melbourne Books, 2011. Stoddart, Helen. Rings of Desire: Circus History and Representation. Manchester: Manchester University Press, 2000. Swed, Mark. “Epic, Extravagant: In Ka the Acrobatics and Dazzling Special Effects Are Stunning and Enchanting.” Los Angeles Times 5 Feb. 2005. 22 Aug. 2014 ‹http://articles.latimes.com/2005/feb/05/entertainment/et-ka5›.Sylt, Cristian, and Caroline Reid. “Cirque du Soleil Swings to $1bn Revenue as It Mulls Shows at O2.” The Independent Oct. 2011. 14 Sep. 2014 ‹http://www.independent.co.uk/news/business/news/cirque-du-soleil-swings-to-1bn-revenue-as-it-mulls-shows-at-o2-2191850.html›.Tait, Peta. Circus Bodies: Cultural Identity in Aerial Performance. London: Routledge, 2005.Terdiman, Daniel. “Flying Lampshades: Cirque du Soleil Plays with Drones.” CNet 2014. 22 Sept 2014 ‹http://www.cnet.com/news/flying-lampshades-the-cirque-du-soleil-plays-with-drones/›.Venables, Michael. “The Technology Behind the Las Vegas Magic of Cirque du Soleil.” Forbes Magazine 30 Aug. 2013. 16 Aug. 2014 ‹http://www.forbes.com/sites/michaelvenables/2013/08/30/technology-behind-the-magical-universe-of-cirque-du-soleil-part-one/›.

During the War on Terror, the United States military has been conducting an increasing number of foreign campaigns by remote control using drones—also called unmanned aerial vehicles (UAVs) or remotely piloted vehicles (RPVs)—to extend the reach of military power and augment the technical precision of targeted strikes while minimizing bodily risk to American combatants. Stationed on bases throughout the southwest, operators fly weaponized drones over the Middle East. Viewing the battle zone through a computer screen that presents them with imagery captured from a drone-mounted camera, these combatants participate in war from a safe distance via an interface that resembles a video game. Increasingly, this participation takes the form of targeted killing. Despite their relative physical safety, in 2008 reports began mounting that like boots-on-the-ground combatants, many drone operators seek the services of chaplains or other mental health professionals to deal with the emotional toll of their work (Associated Press; Schachtman). Questions about the nature of the stress or trauma that drone operators experience have become a trope in news coverage of drone warfare (see Bumiller; Bowden; Saleton; Axe). This was exemplified in May 2013, when former Air Force drone pilot Brandon Bryant became a public figure after speaking to National Public Radio about his remorse for participating in targeted killing strikes and his subsequent struggle with post-traumatic stress (PTS) (Greene and McEvers). Stories like Bryant’s express American culture’s struggle to understand the role screen-mediated, remotely controlled killing plays in shifting the location of combatants’s sense of moral agency. That is, their sense of their ability to act based on their own understanding of right and wrong. Historically, one of the primary ways that psychiatry has conceptualized combat trauma has been as combatants’s psychological response losing their sense of moral agency on the battlefield (Lifton).This articleuses the popular science fiction novel Ender's Game as an analytic lens through which to examine the ways that screen-mediated warfare may result in combat trauma by investigating the ways in which it may compromise moral agency. The goal of this analysis is not to describe the present state of drone operators’s experience (see Asaro), but rather to compare and contrast contemporary public discourses on the psychological impact of screen-mediated war with the way it is represented in one of the most influential science fiction novels of all times (The book won the Nebula Award in 1985, the Hugo Award in 1986, and appears on both the Modern Library 100 Best Novels and American Library Association’s “100 Best Books for Teens” lists). In so doing, the paper aims to counter prevalent modes of critical analysis of screen-mediated war that cannot account for drone operators’s trauma. For decades, critics of postmodern warfare have denounced how fighting from inside tanks, the cockpits of planes, or at office desks has removed combatants from the experiences of risk and endangerment that historically characterized war (see Gray; Levidow & Robins). They suggest that screen-mediation enables not only physical but also cognitive and emotional distance from the violence of war-fighting by circumscribing it in a “magic circle.” Virtual worlds scholars adopted the term “magic circle” from cultural historian Johan Huizinga, who described it as the membrane that separates the time and space of game-play from those of real life (Salen and Zimmerman). While military scholars have long recognized that only 2% of soldiers can kill without hesitation (Grossman), critics of “video game wars” suggest that screen-mediation puts war in a magic circle, thereby creating cyborg human-machine assemblages capable of killing in cold blood. In other words, these critics argue that screen-mediated war distributes agency between humans and machines in such a way that human combatants do not feel morally responsible for killing. In contrast, Ender’s Game suggests that even when militaries utilize video game aesthetics to create weapons control interfaces, screen-mediation alone ultimately cannot blur the line between war and play and thereby psychically shield cyborg soldiers from combat trauma.Orson Scott Card’s 1985 novel Ender’s Game—and the 2013 film adaptation—tells the story of a young boy at an elite military academy. Set several decades after a terrible war between humans and an alien race called the buggers, the novel follows the life of a boy named Ender. At age 6, recruiters take Andrew “Ender” Wiggin from his family to begin military training. He excels in all areas and eventually enters officer training. There he encounters a new video game-like simulator in which he commands space ship battalions against increasingly complex configurations of bugger ships. At the novel’s climax, Ender's mentor, war hero Mazer Rackham, brings him to a room crowded with high-ranking military personnel in order to take his final test on the simulator. In order to win Ender opts to launch a massive bomb, nicknamed “Little Doctor”, at the bugger home world. The image on his screen of a ball of space dust where once sat the enemy planet is met by victory cheers. Mazer then informs Ender that since he began officer training, he has been remotely controlling real ships. The video game war was, "Real. Not a game" (Card 297); Ender has exterminated the bugger species. But rather than join the celebration, Ender is devastated to learn he has committed "xenocide." Screen-mediation, the novel shows, can enable people to commit acts that they would otherwise find heinous.US military advisors have used the story to set an agenda for research and development in augmented media. For example, Dr. Michael Macedonia, Chief Technology Officer of the Army Office for Simulation, Training, and Instrumentation told a reporter for the New York Times that Ender's Game "has had a lot of influence on our thinking" about how to use video game-like technologies in military operations (Harmon; Silberman; Mead). Many recent programs to develop and study video game-like military training simulators have been directly inspired by the book and its promise of being able to turn even a six-year-old into a competent combatant through well-structured human-computer interaction (Mead). However, it would appear that the novel’s moral regarding the psychological impact of actual screen-mediated combat did not dissuade military investment in drone warfare. The Air Force began using drones for surveillance during the Gulf War, but during the Global War on Terror they began to be equipped with weapons. By 2010, the US military operated over 7,000 drones, including over 200 weapons-ready Predator and Reaper drones. It now invests upwards of three-billion dollars a year into the drone program (Zucchino). While there are significant differences between contemporary drone warfare and the plot of Ender's Game—including the fact that Ender is a child, that he alone commands a fleet, that he thinks he is playing a game, and that, except for a single weapon of mass destruction, he and his enemies are equally well equipped—for this analysis, I will focus on their most important similarities: both Ender and actual drone operators work on teams for long shifts using video game-like technology to remotely control vehicles in aerial combat against an enemy. After he uses the Little Doctor, Mazer and Graff, Ender's long-time training supervisors, first work to circumvent his guilt by reframing his actions as heroic. “You're a hero, Ender. They've seen what you did, you and the others. I don't think there's a government on Earth that hasn't voted you their highest metal.” “I killed them all, didn't I?” Ender asked. “All who?” asked Graff. “The buggers? That was the idea.” Mazer leaned in close. “That's what the war was for.” “All their queens. So I killed all their children, all of everything.” “They decided that when they attacked us. It wasn't your fault. It's what had to happen.” Ender grabbed Mazer's uniform and hung onto it, pulling him down so they were face to face. “I didn't want to kill them all. I didn't want to kill anybody! I'm not a killer! […] but you made me do it, you tricked me into it!” He was crying. He was out of control. (Card 297–8)The novel up to this point has led us to believe that Ender at the very least understands that what he does in the game will be asked of him in real life. But his traumatic response to learning the truth reveals that he was in the magic circle. When he thinks he is playing a game, succeeding is a matter of ego: he wants to be the best, to live up to the expectations of his trainers that he is humanity’s last hope. When the magic circle is broken, Ender reconsiders his decision to use the Little Doctor. Tactics he could justify to win the game, reframed as real military tactics, threaten his sense of himself as a moral agent. Being told he is a hero provides no solace.Card wrote the novel during the Cold War, when computers were coming to play an increasingly large role in military operations. Historians of military technology have shown that during this time human behavior began to be defined in machine-like, functionalist terms by scientists working on cybernetic systems (see Edwards; Galison; Orr). Human skills were defined as components of large technological systems, such as tanks and anti-aircraft weaponry: a human skill was treated as functionally the same as a machine one. The only issue of importance was how all the components could work together in order to meet strategic goals—a cybernetic problem. The reasons that Mazer and Graff have for lying to Ender suggest that the author believed that as a form of technical augmentation, screen-mediation can be used to evacuate individual moral agency and submit human will to the command of the larger cybernetic system. Issues of displaced agency in the military cyborg assemblage are apparent in the following quote, in which Mazer compares Ender himself to the bomb he used to destroy the bugger home world: “You had to be a weapon, Ender. Like a gun, like the Little Doctor, functioning perfectly but not knowing what you were aimed at. We aimed you. We're responsible. If there was something wrong, we did it” (298). Questions of distributed agency have also surfaced in the drone debates. Government and military leaders have attempted to depersonalize drone warfare by assuring the American public that the list of targets is meticulously researched: drones kill those who we need killed. Drone warfare, media theorist Peter Asaro argues, has “created new and complex forms of human-machine subjectivity” that cannot be understood by considering the agency of the technology alone because it is distributed between humans and machines (25). While our leaders’s decisions about who to kill are central to this new cyborg subjectivity, the operators who fire the weapons nevertheless experience at least a retrospective sense of agency. As phenomenologist John Protevi notes, in the wake of wars fought by modern military networks, many veterans diagnosed with PTS still express guilt and personal responsibility for the outcomes of their participation in killing (Protevi). Mazer and Graff explain that the two qualities that make Ender such a good weapon also create an imperative to lie to him: his compassion and his innocence. For his trainers, compassion means a capacity to truly think like others, friend or foe, and understand their motivations. Graff explains that while his trainers recognized Ender's compassion as an invaluable tool, they also recognized that it would preclude his willingness to kill.It had to be a trick or you couldn't have done it. It's the bind we were in. We had to have a commander with so much empathy that he would think like the buggers, understand them and anticipate them. So much compassion that he could win the love of his underlings and work with them like a perfect machine, as perfect as the buggers. But somebody with that much compassion could never be the killer we needed. Could never go into battle willing to win at all costs. If you knew, you couldn't do it. If you were the kind of person who would do it even if you knew, you could never have understood the buggers well enough. (298)In learning that the game was real, Ender learns that he was not merely coming to understand a programmed simulation of bugger behavior, but their actual psychology. Therefore, his compassion has not only helped him understand the buggers’ military strategy, but also to identify with them.Like Ender, drone operators spend weeks or months following their targets, getting to know them and their routines from a God’s eye perspective. They both also watch the repercussions of their missions on screen. Unlike fighter pilots who drop bombs and fly away, drone operators use high-resolution cameras and fly much closer to the ground both when flying and assessing the results of their strikes. As one drone operator interviewed by the Los Angeles Times explained, "When I flew the B-52, it was at 30,000 to 40,000 feet, and you don't even see the bombs falling … Here, you're a lot closer to the actual fight, or that's the way it seems" (Zucchino). Brookings Institute scholar Peter Singer has argued that in this way screen mediation actually enables a more intimate experience of violence for drone operators than airplane pilots (Singer).The second reason Ender’s trainers give for lying is that they need someone not only compassionate, but also innocent of the horrors of war. The war veteran Mazer explains: “And it had to be a child, Ender,” said Mazer. “You were faster than me. Better than me. I was too old and cautious. Any decent person who knows what warfare is can never go into battle with a whole heart. But you didn't know. We made sure you didn't know" (298). When Ender discovers what he has done, he loses not only his innocence but his sense of himself as a moral agent. After such a trauma, his heart is no longer whole.Actual drone operators are, of course, not kept in a magic circle, innocent of the repercussions of their actions. Nor do they otherwise feel as though they are playing, as several have publicly stated. Instead, they report finding drone work tedious, and some even play video games for fun (Asaro). However, Air Force recruitment advertising makes clear analogies between the skills they desire and those of video game play (Brown). Though the first generations of drone operators were pulled from the ranks of flight pilots, in 2009 the Air Force began training them from the ground. Many drone operators, then, enter the role having no other military service and may come into it believing, on some level, that their work will be play.Recent military studies of drone operators have raised doubts about whether drone operators really experience high rates of trauma, suggesting that the stresses they experience are seated instead in occupational issues like long shifts (Ouma, Chappelle, and Salinas; Chappelle, Psy, and Salinas). But several critics of these studies have pointed out that there is a taboo against speaking about feelings of regret and trauma in the military in general and among drone operators in particular. A PTS diagnosis can end a military career; given the Air Force’s career-focused recruiting emphasis, it makes sense that few would come forward (Dao). Therefore, it is still important to take drone operator PTS seriously and try to understand how screen-mediation augments their experience of killing.While critics worry that warfare mediated by a screen and joystick leads to a “‘Playstation’ mentality towards killing” (Alston 25), Ender's Game presents a theory of remote-control war wherein this technological redistribution of the act of killing does not, in itself, create emotional distance or evacuate the killer’s sense of moral agency. In order to kill, Ender must be distanced from reality as well. While drone operators do not work shielded by the magic circle—and therefore do not experience the trauma of its dissolution—every day when they leave the cyborg assemblage of their work stations and rejoin their families they still have to confront themselves as individual moral agents and bear their responsibility for ending lives. In both these scenarios, a human agent’s combat trauma serves to remind us that even when their bodies are physically safe, war is hell for those who fight. This paper has illustrated how a science fiction story can be used as an analytic lens for thinking through contemporary discourses about human-technology relationships. However, the US military is currently investing in drones that are increasingly autonomous from human operators. This redistribution of agency may reduce incidence of PTS among operators by decreasing their role in, and therefore sense of moral responsibility for, killing (Axe). Reducing mental illness may seem to be a worthwhile goal, but in a world wherein militaries distribute the agency for killing to machines in order to reduce the burden on humans, societies will have to confront the fact that combatants’s trauma cannot be a compass by which to measure the morality of wars. Too often in the US media, the primary stories that Americans are told about the violence of their country’s wars are those of their own combatants—not only about their deaths and physical injuries, but their suicide and PTS. To understand war in such a world, we will need new, post-humanist stories where the cyborg assemblage and not the individual is held accountable for killing and morality is measured in lives taken, not rates of mental illness. ReferencesAlston, Phillip. “Report of the Special Rapporteur on Extrajudicial, Summary, or Arbitrary Executions, Addendum: Study on Targeted Killings.” United Nations Human Rights Council (2010). Asaro, Peter M. “The Labor of Surveillance and Bureaucratized Killing: New Subjectivities of Military Drone Operators”. Social Semiotics 23.2 (2013): 196-22. Associated Press. “Predator Pilots Suffering War Stress.” Military.com 2008. 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