The use of UAVs has changed the execution of action, memory, and representation of contemporary warfare, which involves in communication directly without serving as any content. However, previous media studies on military UAVs have employed an ocularcentrism discourse which adopts the classical screen apparatus of the film as its paradigm and obscured the UAVs’ role as action apparatus and the body’s important part in it. Through the phenomenological analysis on the interface apparatus and the operation gesture of the military UAVs, this study tries to reveal a different kind of embodied relationship between humans, images and apparatus. The operation in a interface reunifies the multiple functions of apparatus and the operator, and realizes the telepresence of the body, which should be interpreted as a embodied practice of aiming instead of being summarized by the optical surveillance. In this feedback mechanism with operational images as the knot, the operator identifies with the apparatus through the synchronization of body operation and visual feedback in the image, and the presence of the body runs through multiple spaces, forming a new kind of subject, a distributed subject. As a result, vision and touch, previously separated by visual media, are reunified into the body as a whole, so vision falls from a transcendent and exclusive status. In the operation, images hide as a transparent surface to the human senses, while also shielding the hermeneutic technical code text. The unification of operation not only reconstructs the sensory configuration of media, but also shows a new human-image-world relationship which is brought by the technological development.