"Trump Gaza"

At the NY Times, Dan Brooks ponders the Trump Gaza video:

Right up front, and only once, let us acknowledge that everything about the “Trump Gaza” A.I. video is insane: the proposal on which it is based, to resettle the inhabitants of the Gaza Strip and turn the area into a resort property; its content, which includes bearded belly dancers, an Elon Musk look-alike dancing on the beach and a golden statue of President Trump; and the fact that the president posted it, without comment, on a website called Truth Social. It’s all absurd and awful. That is probably the point, if a concept as antiquated as intent applies to the new genre of computerized irony this video represents.

I doubt anyone involved in its production and dissemination believes it describes a viable plan for the future. Nevertheless, it expresses the perspective of a certain subset of Americans — not how they imagine the Gaza of tomorrow but how they understand the internet of today. What we have here is the MAGA aesthetic distilled: political expression not as a way to persuade people or even convey ideas but as social and cultural posturing.

There is also a song. Generated by A.I. in a style I would call in-flight techno, its lyrics begin, “Donald’s coming to set you free/bringing the light for all to see/no more troubles, no more fear/Trump Gaza is finally here.” This opening plays over shots of ruined city streets, where masked warriors with assault rifles alternately menace and care for children as civilians crouch in the rubble. GAZA 2025, the supertitles read. WHAT’S NEXT?

The rubble remains, but at this point the foggy skies clear up to reveal construction cranes in the distance. A shot of soldiers passing through an archway cuts to a woman and two children walking through the mouth of a cave toward a beach. Modern skyscrapers fill the horizon, followed by a drum break synced to a series of quick cuts: golden sands lapped by cerulean water, mixed-use retail on streets lined with late-model Teslas, more kids running out of another cave to another beach. . . .

Given how recently generative A.I. developed, it’s remarkable how fast its aesthetic hallmarks have become recognizable: high-contrast textures, perceptibly diffuse lighting, forced-perspective shots in which people walk down city streets or through arched openings. It’s not what dreams look like so much as a visual rendering of a dream’s description, complete with mild failures of object permanence and the sense that we have seen it all before, although it didn’t look like that. 

Truly our civilization is in peril.