DENVER, COLORADO- Just in time for this year’s 9/11 commemoration, and in the spirit of deepening America’s public commitment to the self- described endless Global War On Terror, comes THE CELL, a permanent museum exhibit to keep US citizens vigilant to the treat of terrorism. The DHS has provided funds to AIPAC and erstwhile Jewish lobbyists to build this display at the Mizel Museum next to the Denver Art Museum. You might well ask, WHAT are Israeli/Jewish interests doing fanning the flames of the so-called GWOT?
From ML:
collaborators are Rand, MIPT, Lawson Terrorism Information Center, AIC, Melanie Pearlman, regional director of AIPAC, Toby Dershowitz, Courtney Green (Mizel’s daughter) Mark Dubowitz, David Grey, Michael Inlander, Jonathan Schanzer, David Heyman, Brian Michael Jenkins, spook, mercenary, and false flag agent with Kroll Associates, who was in charge of WTC security and hired John O’Neill, who fingered the US ambassador to Yemen in the USS Cole bombing, and who was killed on 9/11, and Clifford May, of the RMN, NY Times, Committee on the Present Danger, and Foundation for the Defense of Democracies, ngo CIA fronts.
The CELL is an acronym for Center for Empowered Living and Learning, but in a political world where a reference to “lipstick” is automatically taken to refer to the Ugly American fundamentalist/ bigot/ corrupt/ simpleton/ sow running for GOP VP, the word “cell” is incredibly unsubtle. It’s the dreaded “sleeper cell” of dormant terrorists, meant to allude to the malignant cancer cell poised to spread until its host is dead. Fighting cancer of course means excising every single trace of an inclination of a tumor. While “cell” also describes a small organization, it has another definition certainly inconvenient to our would-be DHS fear-mongering jailers.
It’s a prison cell to which we confine ourselves for the sake of “security.” This hysterical fear spreads like a cancer throughout our nation, seeded by 9/11 and apparently folks who think we need regular inoculations of fear cells.
The display at the CELL is called ANYONE, ANYTIME, ANYWHERE: UNDERSTANDING THE THREAT OF TERRORISM. It teaches people to join Neighborhood Watch programs, etc, and to keep in touch with the Department of Homeland Security.
When FDR said “the only thing we have to fear is fear itself,” he was encouraging Americans to overcome their fear. Like a parent’s bedside advice: there’s no bogeyman in the closet, it’s all in your head. How far have we fallen when our own leaders pervert FDR’s axiom to mean the only thing you have to fear is terror (fear itself). Never mind what you have to fear, just fear.
What then do AIPAC and the Simon Wiesenthal Center have to do with scaring Americans into serving the GWOT? Does Israel think that unless Americans are reminded to fear Islam, they might begin to question white man’s incursion into the Middle East? Are Israel’s atrocities against Palestine and Lebanon likely to come into question unless the American public is kept mesmerized by Muslim Terror?
To refer to terrorism as an ideology is already an adolescent fallacy. The term is even inappropriate to isolate a particular means of warfare. Terrorism may be a tactic, but you cannot differentiate between suicide bombers and aerial bombing, between beheadings and extra-judicial preemptive assassination, between kidnappings and extraordinary rendition and torture.
We’re making a visit to THE CELL today, by coincidence on 9/11.
I can’t wait to see how an entire exhibit is going to riff on the never forget always remember TO FEAR illogic. A little knowledge can plant the seed of fear, sufficient knowledge can weed it out.
UPDATE:
The good news is that THE CELL looks like a low-rent Sharper Image meets espionage store. What is the graphic on the front door, a sniper’s crosshairs? All the windows are mirrored except where neon text is scrolling cautionary warnings. In other windows silhouettes of crowds huddle together beneath illuminated shards of falling structures. Another window glamorizes rack after rack of data processing electronics.
The main logo (photo at top of article) features a map of the world overlaid on a fingerprint. I had to laugh at the forced acronym. Center for Empowered Living and Learning. Isn’t to “Live and Learn” an expression for wisdom gained by experience, basically at the expense of mistakes made?
Most distressing however was to see this sign, an indication that the C.E.L.L. is not a temporary exhibit but an integral component of the Denver museum-scape. Does fear-mongering propaganda belong in the CULTURAL COMPLEX? Between Art, History and Library, a House of Horrors?
WE GO INSIDE!
The visitor brochure explains that THE C.E.L.L. exhibit SHATTERED LIVES is “designed to encourage critical thinking.” But a step through its doors proves it intends everything but. With a patronizing audacity beyond Orwell, these A.G.E.N.T.S. lurk with sensory trauma to infect your personal American idyll with fear.
To my mind, they’re Alarmist Goons Elevating a Nonsensical Terrorism Scare.
Picture-taking is forbidden beyond the lobby doors, but after the collage assemblage in the atrium, there’s nothing to photograph. The ticketed portion of the ride consists of crooked halls filled simply with video screens, projections, and blurbs of text on the walls; self-described “sophisticated multimedia techniques.” Monitors and kiosks are peppered throughout in multiples, as if the installation were anticipating subway-strength traffic making a beeline through; or large school groups with no freedom to move laterally.
Of course, the omniscient repetition also indoctrinates us subliminally. The TV news clips sample a half dozen terrorism incidents, Munich, Lockerbie, Nairobi, et EL AL. Remote voices accompany still photos of bloodied carnage. 
Amidst the intonations of observers and analysts ring two repeated motifs: JFK’s mocking condemnation of terrorists, and Edmund Burke’s admonition “All that is necessary for the triumph of evil is that good men do nothing.” Someone can’t resist that adage. I wonder if it’s true.
PUTS YOU AT THE SCENE
Before I relate the plenty creepy details, I’ll jump straight to the orchestration’s third movement. Perhaps someone else can compare the programming of THE CELL according to known indoctrination stratagems. I’ll call the third chamber the climax. Automatically-timed doors enforce a six-minute collective “immersion.” Signs warn away anyone with a weak heart, etc, although I didn’t see an alternate passage around. Neither do the doors allow anyone to pass quickly through. They release the previous group before locking to entrap the next.
( S P O I L E R – A L E R T )
Inside, a video-surround chamber simulates a camera obscura viewpoint, first we’re at a summer fair in Denver’s Civic Center Park, then outside the DAM, then a sunny morning on the 16th Street Mall. The movement of bystanders and passersby around us sometimes slows or accelerates. Until SUDDENLY –OF COURSE– we’re at the epicenter of a FURIOUS EXPLOSION and our mid-west urban tranquility is engulfed in fire. Soon enough, floating in the flames come images of urban battlefields, destruction and carnage. Eventually we can recognize the iconic photographs of Pan Am Flight 103, and the rescue of embassy employees in Kenya, about which we were just reminded in the previous chamber. Then we’re treated to a large text message which reminds us that a terrorist attack can strike “anyone, anytime, anywhere,” and we’re released into an antechamber of analysis.
Actually, claustrophobes might want to know that every segment of THE CELL is time-released. But there will be intrusive control elements to offend everyone.
PERSONALIZED ID
For starters, the entrance fee is $8, or $6 to Coloradans. Can you think of why the cost of admission would be more expensive for out-of-state visitors? I can’t. But the discount means patrons must show their ID to buy a ticket. The clerk issues a computer receipt.
Along with your ticket you get a magnetic passcard which you’re instructed to use at progressive kiosks along your route. You swipe your card to gain access to biographical information about a particular victim of terror. The first row of kiosks will reveal a first page of info, a later pod will reveal a second page, etc. No matter which kiosk, your card will only access a single bio, meaning passcards are keyed to the visitor. Mine brought up a middle aged professor whose life was shattered by terrorism. Perhaps a younger visitor would be given a passcard corresponding to a like-aged victim of “Shattered Lives.” Learning, as their own immersion into THE CELL progressed, how their adopted personage fared in THEIR brush with terrorism.
INDOCTRINATION
Let’s see. First chamber: Kennedy, Burke and multimedia barrage. Second chamber: news clips, kiosks with bio part one. Third chamber: BOOM. Fourth chamber: Rand Corporation analysts, so-called experts sitting beneath bookshelves of law books. Dershowitz and the usual talking heads that you see as FOX advisers. One important meme is the accusation that the internet is increasingly being used as a propaganda tool of the Islamists. Websites, blogs, chat rooms are suspect. Trust only the credentialed media apparently…
Two of videos in the last chamber are timed so that you have to watch one, then the other. They include snippets of the videos available at the interactive displays, in case you had chosen not to watch them. There are numerous clips from Islamic television which purport to demonstrate how Muslim children are being indoctrinated against the west.
PHOTOGRAPHS:
Here is what greets us at the entrance of THE CELL, before we even get to the exhibit. First, flashing images of violence and victims. Next, a collage of the FACES OF TERROR. Already we are able to recognize faces from the video sequences on the first wall. (Are there so few victims of terrorism? Or are the show’s makers deliberately limiting the selection of iconic fear-triggers?)
Faces of fear. Isn’t that what “terror” means? We can project ourselves in those images. Faces forever fearful.
Next a map with cross-hairs roaming at seemingly random locations “anywhere.” The text explains that acts of terrorism began in the latter 20th century, and apparently EL AL airline was its principle early target.
What young scholar’s essay does not begin with a “definition?” In this case the word, even more typically, is “for various political, social and cultural reasons” defies definition. How extraordinary! (It reminds me of the www.thecell.org website, which by any standard is written for under-sophisticated readers.)
Here’s the exhibit’s theme, SHATTERED LIVES, adjacent the reception desk ticket counter. The wall is papered with names, resembling the black marble of the Vietnam War Memorial Wall, probably these are names from the WTC.
I was directed to take no pictures of the main installation, but I pulled my camera out again right before the exit door.
There I found Denver Mayor Hinckenlooper thanking everyone for visiting the C.E.L.L. and urging us to become active eyes and ears against the terrorist threat.
Of course, could there be any official statement about 9/11 without ex New York Mayor Rudy Giuliani weighing in? Etc, etc, and so it goes.
But I loved one of the parting shots, TV footage of Giuliani at Ground Zero in 2001 showed him wearing a mask. There’s the brave mayor making a quick round of handshakes, with workers notably not wearing any protection. Every one of those workers is now most famously dead, or suffering respiratory ailments in NYC hospices. While Giuliani still tramps around as 911 hero.
During the kids’ Snow Break last week, we chanced to visit the Denver Art Museum’s Psychedelic Experience exhibit. Dozens of groovy rock posters from the late sixties, mostly advertising shows at San Francisco’s Fillmore Auditorium, were on display, occasionally retro-enhanced by black light. More interesting to the kids, however, was an adjoining exhibit where ancient artifacts were displayed in a seemingly authentic sixties pad. There were LPs (how they laughed!) and record players, a giant console television, magazines from the era (first man on the moon was a big hit), shabby furniture covered in tie-dyed material, and a couple old-fashioned telephone booths with rotary phones. One by one, the kids went into the graffiti-covered booth and closed the door, sat on the bench and tried to figure out how to dial the phone. Seriously, it wasn’t obvious to them.
