A man who looks like Musk, only 20 years younger and better equipped, eats Hummus for another cut to belly dancers with large breasts, well -shaped hips and full beards. This shocking series brings us to the chorus: “Trump Gaza, Shining Bright/Golden Future, a brand new light/party and dance, the deed is ready/Trump Gaza, no. 1.”
As the choir repeats, we go into it “after” part of the place. A child walks through a radiant boulevard and holds a Mylar balloon in the shape of the president's head. The president himself talks a younger woman in a casino. Money falls out of the sky. The above golden statue is in the middle of a busy roundabout, and Trump and Prime Minister Benjamin Netanyahu drink cocktails with their shirts from a swimming pool. The whole thing is excellent generative AI It is competent Hacky, technically more skilled than what most people could produce, but also disturbed in the Patrick Bateman style, as if a vending machine had decided what people like by viewing thousands of commercials – which of course happened.
Given how recent generative AI developed, it is remarkable how quickly the aesthetic characteristics of it have become recognizable: high-contrast textures, perceptible diffuse lighting, forced shots in which people walk through the city or bent openings. It is not what dreams look like a visual representation of the description of a dream, complete with mild failures of object sustainability and the feeling that we have seen it all before, although it didn't look like that.
As soon as this visual style became known, it seemed to be the dominant aesthetics of the Pro-Trump internet. With the possible exception of venture capitalists, the demography that AI seems to have embraced most enthusiastically is Maga Meme accounts, possibly because the people who have rejected it the most – graphic designers, journalists, photographers, filmmakers, musicians – archetypical liberals. In the reactive logic of the MAGA rang and file, AI is good because the right people hate it.
This dynamic has produced a culture of computer -generated irony with special characteristics. It is not the stable irony of a Jonathan Swift or a Stephen Colbert, in which the audience can trust the Ironist to say the opposite of what he means. Instead, it is an unstable irony that leaves its real meaning ambiguous or at least plausible inadmissible. President Trump has this approach himself popular by “telling it as it is” in a way that consistently ignores precision, if not accuracy, speak in a hyperbolic style that understand his followers as not literally but also gospel truth. The Trump Gaza video is ironic in this smooth feeling of the word. It is the irony to say more than you mean (literally Golden Idol van Trump), or say what you mean in a way that no one could seriously call (the twice-star belly dancers), or to draw attention to the weaknesses of your leader as a gesture of unconditional loyalty (Gold-Leaf everything).
