{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"e38ef66b-e3ac-494b-b5ea-9cc05b2975d8","title":"Democracy and Other Neoliberal Fantasies Communicative Capitalism and Left Politics","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"e38ef66b-e3ac-494b-b5ea-9cc05b2975d8","id":"e38ef66b-e3ac-494b-b5ea-9cc05b2975d8","uuid":"e38ef66b-e3ac-494b-b5ea-9cc05b2975d8","title":"Democracy and Other Neoliberal Fantasies Communicative Capitalism and Left Politics","normalized_title":"democracyandotherneoliberalfantasiescommunicativecapitalismandleftpolitics","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":229,"navigation_url":"https://workshop.closeclaw.top/ai/book/e38ef66b-e3ac-494b-b5ea-9cc05b2975d8","title_url":"https://workshop.closeclaw.top/ai/title/Democracy%20and%20Other%20Neoliberal%20Fantasies%20Communicative%20Capitalism%20and%20Left%20Politics","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/e38ef66b-e3ac-494b-b5ea-9cc05b2975d8/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/e38ef66b-e3ac-494b-b5ea-9cc05b2975d8/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/e38ef66b-e3ac-494b-b5ea-9cc05b2975d8","page_url":"https://workshop.closeclaw.top/api/ai/books/e38ef66b-e3ac-494b-b5ea-9cc05b2975d8/page","search_url":"https://workshop.closeclaw.top/api/ai/books/e38ef66b-e3ac-494b-b5ea-9cc05b2975d8/search"},"page":{"printed_page":"156 / SIX","pdf_page":166,"physical_index":166,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"cbc3320aff3a6e3b27af00f37daf249fb2405089a799df3ab74cb7fe3c9d4c76"},"chapter":"Comunicative Capitalism & Left Politics","content":"A striking aspect of the video is its production of certainty through repetition, intensity, and afect, in other words, the way it performs the shift from the questioning of the hysteric toward a certainty more characteristic of psychosis. Here is its version of \"find out for yourself\" in the film's final voice-over:\n\nI'll say it again: why are they hiding from us? \"'What are they hiding from us? And what's it going to take until people in this country give a damn and do something about it? Now that the evidence has been presented, what will you do about it? Wil you find comfort in the oficial version of events? Or wil you go out and investigate for yourselves? Wil you share this information or wil you ignore it? Wil you be at ground zero on September uth? America has been hijacked. Is it more likely by Osarna bin Laden and his ragtag group of Arabs with box cutters or by a group of tyrants within our own government, ready and willing to do whatever it takes to keep their stranglehold on this country? It's up to you. Ask questions. Demand answers.\n\nTo whom is. this demand raised? To the tyrants, the al-powerful obscene tyrants supposed/ produced through the operati ri of the theory. So the same tyrants who alegedly commited the crime are here demanded to expose themselves, to admit to it, to come clean. There is a strangeness to this demand, an incompatibility between it and the crime and criminals it is raised to expose.\n\nMore interesting is the attitude of certainty: the viewer is enjoined to investigate. Yet the film presents itself as already knowing what the subject wil find out. It's certain and it manifests this certainty straightforwardly in the evidence presented, the information shared, the America hijacked. Even if \"it's up to you;' the film already knows what you wil discover, as long, that is, as you are brave enough to leave the comfort of the oficial version of events. Overlaying the final credits is an austere hip-hop piece with a �trong base line. The vocals begin: \"We all know where you're gain; we know that you're out there:\n\nThe efective and afective success of Loose Change sterns from its use of music, from the way music provides the connections b etween diferent images, screens, and facts. A compelling drumbeat, strong base line, and repetitive samples bypass the mediation of argument to establish a feeling of certainty. The first eight minutes of the film, for example, feature images and a voice-over enumeration of various sorts of items: contradictory quotes from Condoleezza Rice, Donald Rumsfeld, Ari Fleischer, and Richard Clarke; a description of Operation Northwoods, a 1962 plan involving a faked hijacking submitted by the head of the Joint Chiefs of Staf to the Secretary of Defense; the $1 9 8 4$ test of a remote-controlled Boeing aircraft; and, so on up through news reports in early September 2001. The reports mention the significant increase in put options placed on United Airlines, Boeing, and American Airlines; Larry Silverstein's purchase of the World Trade Center and the accompanying 3.5 billion-dollar insurance policy; and Attorney General John Ashcroft's shift to traveling by private rather than comm.ercial aircraft. The items are presented chronologically; events on a timeline leading up to September 11. Because the underlying music establishes continuity among the images, particularly through its repetitions and driving base line, the viewer gets the sense that events are already connected to one another in the Real. Taking the connections between the events for granted, surendering to the hypnotic rhythm, is easier than disrupting one's enjoyment in the music.\n\n156\n\nSIX","previous_page":165,"next_page":167}