«The author approaches the David story as an imaginative writer, giving play to that dialectical fullness of conception that leads the greatest writers (Shakespeare, Stendhal, Balzac, Tolstoy, Proust, to name a few apposite instances) to transcend the limitations of their own
ideological points of departure,» Alter states.
Taking the conversion
of infrastructure — oftentimes cold, invisible technical systems — into a kind
of lauded aesthetics that penetrate power structures as the
point of departure, the trio plunges into post-1950s Chinese audio - visual materials — from the archive
of the propaganda pictorial Renmin Huabao, government recordings, to politicized pop music from the early 2000s and their music videos — to trace an aestheticized infrastructure's horizons and its
ideological workings.