The Left Berlin News & Comment

This is the archive template

Bitter Waters: The Struggle of the Sahrawis

Film reviews of films focused on the Western Sahara and shown recently in Berlin


18/09/2024

Last Saturday 7th of September, the screening “Bitter Waters: The Struggle of the Sahrawis” took place at Sinema Transtopia. This was followed by a discussion with Javier Toscano, Minetu Hamdi, Nadjet Hamdi and Sale Mohamed Sayed al Bashir: curators, activists and filmmakers involved in the shown projects. Each of these titles brought a different emphasis, from historical reiterations to visual storytelling, focusing on the themes of life under occupation and resistance against dispossession, colonialism and military powers. 

I write this review with the aim to make an (inter)generational and (inter)national connection regarding the struggles against Spanish colonialism and all forms of past and current fascism. Which means, each fight for national liberation and self-determination of colonised lands is a common battle field for all. From understanding Catalan and Basque identities during the Spanish Civil war and life under the postwar Franco regime,  the current legacy of colonialism in Ceuta and Melilla, and the thousands of people trapped between inhumane Spanish border policies. The lack of recognition for the people of The Riff, as well as the Saharawi struggle for freedom and justice on the sands of native land are fights to which we are all connected. 

In the 1885 Berlin Conference, Spain claimed to have taken the Sahara region from South to North, leading to a series of administrative and legislative imperialist strategies to keep the country under Spanish control up until 1965, when the UN General Assembly asked colonising EU powers to start a decolonisation process on foreign occupied lands. In order to undermine this request, the Franco government created the Sahara General Assembly, which systematically silenced native Sahrawi voices such as the Chiuj (heads of Sahrawi tribes and factions) and left the native population living under a discriminatory and oppressive regime. In 1975, right before the transition period, the Franco government handed over the Sahara to Morocco and Mauritania. This was the start of the military invasion in which the Morrocan forces used napalm and white phosphorus over the Saharawi people. 

El viaje de Jadiyetu (Mexico, 2020) is a short movie by Javier Toscano that drives us through the Saharawi fields towards the Berm. We travel together with Jadiyetu Alaÿat, who narrates her experience crossing the wall from occupied Sahara to the refugee camps in Algeria in 1999. Her story resembles fiction, but it’s not. The journey makes us face the reality of Saharawi women who challenge every existing oppressive structure in the name of liberation. Jadiyetu risked everything to escape the Moroccan invasion, leaving behind her friends and family, in order to reach an unknown fate that was worth the run. She reads a poem she wrote for the Martyrs that resisted the occupation – the poem travelled through the people and its powerful message reached the colonisers who threatened her with death. Her journey situates the spectator in a broader sphere, making us understand what national liberation struggles mean in the eyes of the people who refuse to accept occupation. She materialises the revolt against an oppressive regime, even at the risk of death, by reaching the camps on her own, as a woman. Jadiyetu’s story is not just a personal one, but a fight for the collective liberation of her people, the refugee camp becomes a glimpse of what freedom would mean for Western Sahara. 

Mutha & the Death of Hamma-Fuku (Spain, 2021) by Dani Suberviola is an amazing production framed in an initial speculative visual language that unfolds a very true story about a young woman called Mutha Hama-Fuku. Hama-Fuku works with a team of people deactivating Moroccan military explosives in the Western Sahara freed territory. Anti-personnel mines and unexploded bombs are tools of oppression, engineered to kill civilian populations, especially children finding their way back from the ruins of imperialist violence. Deactivating them is not merely a political gesture, it’s an act of defiance – a radical reclaiming of the land from the brutal machinery of Moroccan state-sponsored murder. This is more than reversing the effects of war; it is dismantling the weapons of power designed to keep the Saharawi people in perpetual fear. The movie forecasts a constant presence of potential death that creates a sense of tension with every detonation. 

By disarming these instruments, Mutha seizes back control from military occupation, slowly transforming the scorched earth into a hidden future space of freedom to resist and rebuild. During the whole film, Mutha talks about her dad who, by the end of the story, is revealed to have been killed by an anti-personnel mine set up as a trap while trying to defuse a mine close to the Berm. This explains the generational toll of war and the persistence of conflict in the lives of those who are forced to live on its front lines. The decision to follow in her father’s footsteps is a political act of carrying forward the fight against the mechanisms of war, violence, and land dispossession. It reflects a legacy of sacrifice, turning her personal tragedy into a political commitment. 

I exist (2013) is a Saharawi production by Mohammed Mhamdi that focuses on children as political subjects of military aggression. The film presents a powerful, multi-layered message through the simple but poignant act of children playing football in a war zone. War-torn landscapes strip away childhood, but here, football becomes a universal language of children resisting occupation. The film shows a child with an amputated leg joining the game among others who decide to tie one leg behind their backs and continue playing as equals as a radical act of solidarity. Playing with one leg reflects the collective refusal to let the destruction of war rob them of their humanity. Rather than allowing the child’s injury to reinforce their own trauma or fear, they adapt, choosing to identify with their friend in a way that celebrates their connection and dignity in the eyes of their colonisers. The steadfastness of the kids is something we witness in all military occupation contexts. Bringing dignity through telling the stories of people, especially children, losing limbs, is imperative in order to redefine what it means to reclaim their own identities through loss and, and at the same time, power and pride of their own existence. The act of tying their legs together is also a rejection of isolation, proving that true healing in such a brutal world only comes through collective strength and shared experience.

Lost land (2011) by Pierre-Yves Vandeweerd is a Belgian archive footage documentary that narrates stories of Saharawi people as direct witnesses to Moroccan colonialism and dispossession. There’s an interesting element that persists throughout the film: the image of the camels, the animals, the wind, the sand and the land. These are the central elements through which the stories are told. There’s a clear will to explain the co-constitutive relationship between the Saharawi people and their environment, and how that connection with nature empowers them to not only continue the struggle, but also to consolidate their own existence with their land, creating a geo-anthropomorphic formation capable of tearing down the military occupation through native intergenerational knowledge. The archived visual language of the film portrays the Saharawi identity in a very touching and dignifying way, communicating their vision of the world and the meaning of freedom to the audience. 

It is imperative to point out how these films show a cohesive connection not just to each other but also to other anti-colonial struggles across the globe. Where native populations resist the destruction of their ecosystems by the imperial war machines of the west and their allies we see similar narratives, experiences and trauma. But we also see hope, solidarity and potential. We hold Spanish colonialism and the current Spanish government accountable. Children want answers about their ancestors, from great grandparents who were shot by Francoist soldiers and thrown into mass graves who until today remain unidentified, to Saharawi kids being currently tortured, imprisoned, denied of their rights by Moroccan occupation forces led and supported by the anti-migration policies of the Spanish state. From them we learn how justice can be fought for, and how international and class solidarity can give us the key to the dismantling of all systems of oppression. 

You can find more information about the screening here.

Blame Games: Self-Acquittal, State Control and Germany’s Exploitation of Palestine

Now they are even banning red triangles


16/09/2024

The state and the German press are not only covering up and spreading misinformation about what is happening in Palestine while parroting outlandish claims from the IDF, but they also emphasize the events of October 7 without adequate geo-political and historical context, exaggerate the crimes of Hamas, and promote some of the Israeli government’s worst lies. In doing so, they seek to keep the shock and trauma of October 7 alive in order to justify and advance their genocidal, racist foreign and domestic policies. This strategy is explained by Naomi Klein in The Shock Doctrine. The well-known book exposes how dominant powers use collective shock to impose less popular policies on society.

 For months, this tactic has been employed in Germany. Under the pretense Israel’s right to exist as ‘reason of state’ basic freedoms are being progressively attacked and restricted.  Freedom of expression, assembly, press and asylum of both people and associations in solidarity with the Palestinian people are under fire in Germany, exercising particular wrath upon its Palestinian and Arab communities.

At the domestic level, this state of permanent shock and re-traumatisation combined with a lately deficient and opportunistic cultural memory has led to what can only be understood as collective delirium. The supposed ‘fight’ against antisemitism has taken hostage the reasoning and critical thinking capacity of the nation, its institutions, the media and, unlike in most other countries, a large number of white German citizens that considers themselves left-wing. While society remains largely silent about the ongoing genocide or defends it, and Israeli flags fly on several government buildings across the country, politicians of all parties support Israel and its army at their events, including the left-wing party Die Linke, which displayed the flag of the genocidal army at its information stand for the European elections in the city of Halle.

Pro-Zionist delirium on the left is strongest in the ‘anti-Deutsche’ (anti-German) movement. Active for decades, groups and individuals who consider themselves anti-fascist fill the streets and networks with antifa flags combined with those of Israel, organise israeli-solidarity events, and  a self-organised centre in Leipzig, Conne Island, has even encouraged people to join the Israeli army via a link on its website through which German citizens can enlist. The link, along with blog entries by people who cliamed to have helped the army, was hastily deleted. These individuals and groups have become increasingly radicalised since 7 October. Anti-muslim racists brand anyone who shows solidarity with Palestine a ‘dangerous Islamist’. The groups have been active in doxxing activists, getting events and concerts cancelled, and publishing some particularly terrible reporting.

But the anti-Deutsche are not alone, nor are they the worst. Supporters of Israel participate in TV talk shows, write op-eds, give speeches, and commune on networks denying the Nakba, occupation, apartheid and genocide, while advocating for ethnic cleansing under the justification of destroying Hamas, even at the cost of of the entire Palestinian territory and its population, with no repercussions. Major newspapers publish their articles; Zionist sympathisers are invited to give public speeches claiming that there are no innocent civilians in Gaza, as well arguing in favour of cutting off the supply of water, food and essential goods to the Gaza Strip, claiming that it is full of terrorists (at the same time, they argue that it is not true that it is already happening).

Accused of antisemitism and advocating terrorism, a comment explaining that this didn’t start on 7 October or a ‘like’ on social media is already costing Palestinian activists jobs or their funding. Since Udi Raz, a member of Jewish Voices for Peace in the Middle East, lost their job at the Holocaust Museum in Berlin in November for explaining that there is apartheid in occupied Palestine – a statement backed by the International Court in The Hague – centres for migrant girls have been closed, careers destroyed, exhibitions cancelled, awards withdrawn, and employees fired for showing empathy for the victims of an ongoing genocide.

The demonstrations and rallies in support of Palestine are constantly assaulted by an increasingly violent police force, which makes indiscriminate arrests, including of a 7-year-old child. The disproportional force of the Berlin police has led human rights associations such as Amnesty International to and call for investigation.

The German government is also tightening laws on immigration and asylum. It wants to facilitate the deportation of asylum seekers who may be extremist (read: pro-Palestinian) and is looking to pass an amendment so that a single like on a post considered ‘terrorist’ (which could include ‘From the river to the sea, Palestine will win’, the word ‘Intifada’ or ‘Free Palestine’) could justify the deportation of offenders without a German passport. This past week the government has announced checks on all land borders to control migration purportedly for the sake of national security. The Ministry of the Interior cites, as is increasingly the case, the risk of ‘Islamists’ entering the country, with the strong connotation that all muslims are dangerous and many pose a potential terrorist threat.

Germany, however, is trying to save or at least not damage, its image abroad, through more restrained statements on the conflict and its domestic policies in the international arena. This is exemplified by covers of Der Spiegel. The magazine introduced the English version of an interview with Chancellor Olaf Scholz with the quote ‘We have to deport people more often and faster’, while the German version reads ‘We must finally deport in a big way’. In the former they are forced to do it because they are overwhelmed, in the latter they do it willingly, eagerly and efficiently, which is closer to the current reality in the country.

Reversal of the Victim/Perpetrator Narrative

The imposed narrative is that Israel cannot be a perpetrator, being a nation ‘of Jews and for Jews’. By deduction, it can only be a victim – confusing the fact that the Jewish people were victims of the horrific crimes committed by the Nazis in the Second World War that culminated in the Final Solution and the Holocaust, and rather than the state of Israel. In a twist, according to German popular media, anyone who believes that Israel commits atrocities and criticises it is here considered a Nazi sympathiser, since anyone who defames a Jew is a Nazi. In other words, the Palestinian people and their Middle Eastern allies are the new Nazis. The convenient idea that antisemitism in Germany is imported, that it is brought by migrants, especially Arabs, that has been floating for years in the German political and media spectrum, is now turbo-charged. This self-absolution is being propogated by people of the whole political spectrum.

This line of thinking is being spread by the Foreign Ministry through Middle East specialist media, Qantara. The online magazine was the only German public media reporting on Palestine in an accurate and independent way until restructuring was announced a few weeks ago. Among other measures it is to be supervised by the Foreign Ministry, which led to the resignation of the entire staff. In one of the first articles after the editorial change it is stated: ‘In contrast to Germany, the Nazi past has never been dealt with in the Middle East itself. The German media must also face up to this task if they want to understand and report on the growing antisemitism in Muslim circles in this country.’ The same article states that there is no famine in Gaza and that what we see on the networks are old images mixed with pictures from Syria. The new propagandist editorial line of the German foreign ministry is crystal clear.

These developments reach hysterical levels when white Germans classify themselves as victims of antisemitism for being called pro-genocide or Zionists when they proudly defend Israel by showing its flag, while anti-Zionist Jews are arrested and charged with antisemitic crimes for denouncing the massacre in Gaza.

Another widespread editorial line is that the Palestinian solidarity movement has reversed the victim/perpetrator roles; Hamas is almost forcing the poor Israeli soldiers to commit crimes against the civilian population by not letting the hostages go and laying down their arms. Never do these articles mention TikTok videos posted by those same soldiers mocking the dead Palestinians and calling for genocide.

This fanaticism is leading to more and more proto-fascist internal policies. Associations, demonstrations and events are banned without court orders. The Interior Ministry monitors left-wing newspapers that deviate from the imposed editorial line.

In a rare move against the growing German far-right and its hate speech, a few weeks ago Interior Minister Faeser ordered the closure of a far-right magazine called Compact, which is affiliated with the Alternative for Germany party, without a court order. This in itself has set a bad precedent that will surely be used in the near future to close down left-wing publications.

The same minister wants the intelligence service to investigate some 1200 professors who signed a letter of support for the students of the Free University of Berlin when their anti-genocide camp was violently evicted by riot police. Faeser also ordered a raid and closure of a mosque she accuses of jihadist terrorism without investigation or court order.

Both the Interior Ministry and its allied media are sounding the alarm over a growing antisemitic and ‘pro-jihadist’ radical left. Normal conversations and opinions in the rest of the world, such as talking about a one-state solution, where Palestinian and Jewish citizens live with equal rights, are considered extremist and genocidal (of the Jewish people).

There are also bans, which if they were not the beginning of a dangerous authoritarian path would be comical. In its eagerness to ban everything related to Hamas the Berlin senate banned red triangles, with  social-democrat senators in favour, not taking into account that it is a symbol loaded with its own history, as the Nazis marked political prisoners in concentration and extermination camps with red triangles.

This ban not only shows that Germany has failed on the subject of historical memory in regard to who is  responsible for the largest massacre of Jews in history and what antisemitism actually means, but that it is once again pointing the finger at racialised groups and left-wing groups that differ from its authoritarian colonialist policy.

This proto-fascist breeding ground is not only failing to protect its Jewish population, it is whitewashing right-wing antisemitism under the guise of pro-Zionism. It is exposing migrant and post-migrant are constantly demonised by the state and the media, exposing them to increasing danger. At this rate, we are on our way to events in the UK being replicated by the growing German right and cities filling with mobs on the hunt for ‘the foreigner’.

Transcending Autonomism

Motivated by the belief that capital today valorises through the commodification of immaterial labour, autonomists practice a seemingly complete withdrawal from the system. But how sound is this strategy?


14/09/2024

Over the past year, a lot of critique has been levelled at the many strands of German leftism, from the openly Zionist antideutsche, to the social chauvinist Sahra Wagenknecht’s political debut. In this article, I continue with this proud tradition of leftist infighting, and critique both the theoretical and practical positions of the autonomist movement.

It is rather difficult to be involved in leftist politics in Europe and not have engaged in some capacity with autonomist-adjacent groups. Traces of autonomist ideology are found in countless left spaces across the continent. From squats to anarchist cafés, from soli-festivals to foodsharing, autonomists seek to exit the sphere of capitalist relations in whichever way they can. They have a history of spontaneous demonstration, most notably and consistently against the commodification of housing, but also against globalist organisations, like the G8. And as with most subcultures, they have their quirks: a tedious obsession with aesthetics that has spurred accusations of being a middle-class movement; a high burnout rate with activists who rapidly discover the limits of their ability to participate in the autonomist lifestyle; and in Germany, to nobody’s surprise, endless internal quibbles over Palestine. But quirks aside, surely seeking a withdrawal from capital, and resisting its slow march through institutions is a good thing, right?

I argue that autonomism has failed to grapple with the reality of being a predominantly European movement, and that their political direction is determined by a poor understanding of material conditions. To evaluate these shortcomings, we must regrettably fall back to theory, something that autonomist subcultures eschew in favour of spontaneous action. But autonomism did not begin as a subculture; rather, it began as a theoretical movement, albeit one grounded in very practical events.

Autonomism’s emergence was something of a swan song of modernity. Born in the factories of Northern Italy in the 1960s, it was situated amidst massive internal movements of workers from the underdeveloped and semi-feudal south of the country, to the rapidly industrialising north. These migrant workers, subject to brutally exploitative labour regimes, often rejected structured wage negotiations through labour unions, instead partaking in wildcat strikes and sabotage. Theorists of the period, such as Mario Tronti and Antonio Negri, began to frame this as a theory of the worker’s subjectivity, sparking a theoretical movement that came to be known as operaismo (“workerism”). The operaists, writing in journals like Quaderni Rossi and Classe Operaia, inverted the Marxian relationship between capital and labour. Instead of framing capital as tending towards crisis under its own imperatives, the operaists highlighted how capital always seemed one step behind labour. In their narrative, rather than being the protagonist, capital had a reactive tendency: it was forced to respond to the specific forms of organisation of labour, such as the factory, and to the subjectivities that emerged through this organisation. And these subjectivities would always grow to threaten capital: forcing, in their own epochs, a collapse in the rate of profit. Capital would thus be periodically forced to deconstruct existing labour processes to kill this organisational capacity, and then restructure them, to renew the cycle of accumulation.

The wide range of sabotage actions undertaken by factory workers came to a head in the so-called autunno caldo (“Hot Autumn”) of 1969, which culminated in the acceptance of some of the workers’ demands, and a consequent weakening of the workers’ movement. The decade after saw a restructuring of labour, and the centre of analysis gradually drifted away from the factory, shifting instead to the productivity present within other spheres of life. Feminist thinkers like Mariarosa Dalla Costa and Silvia Federici provided the theoretical foundation for the Wages for Housework campaign, highlighting the role gendered labour played in (re)producing the most valuable commodity: the worker’s labour power. The student movement organised against the commodification of the university and the rising cost of housing. These currents, as well as the growing proliferation of white-collar labour amidst the reconstituted working class, framed the transition from operaism to post-operaismo. Theorists of this period included Toni Negri (whose academic career was briefly interrupted by his arrest for the murder of… the Prime Minister of Italy); but also Maurizio Lazzarato, Paolo Virno, and, moving away from Italy slightly, Michael Hardt. Post-operaismo concerned itself mostly with labour in a post-Fordist society, i.e. with immaterial labour. The mass worker, in post-operaist narratives, was transformed into the social worker, as capital began to expand to subsume all of life itself. Socially produced value was captured by capitalists, who, rather than investing in the factories of a bygone era, instead sought to commodify the conditions for sustaining life itself.

In a practical sense, the autonomist subject is thus the immaterial worker, in their role as a concrete, direct opposition to capital. This labour can be pulled outside the sphere of capitalist relations: third spaces like cafés can collectively be established, squats can provide housing, open-source software can be collaboratively designed. For the autonomists, the material conditions for communism already exist, and all that is needed is to pull productive labour out of the control of capital, that has long outlived its purpose. The labour theory of value no longer holds true: value is being produced and co-opted everywhere, round the clock. The wage form is thus obsolete, and capitalism is already dead: we simply need to rid ourselves of the turbulent capitalists.

A key assumption undergirding these ideas is that the forces of production have developed, through labour’s intransigence, to the point that expansions of fixed capital are no longer particularly necessary to sustain life. Cooperative labour can (and does) produce most of the commodities consumed in contemporary society. There is some truth to the fact that capital has increasingly refrained from transforming or expanding production (see Brenner’s long downturn), instead resorting to the accelerated commodification of assets. Automation theorists have engaged with this, and tend to view this refusal to expand production as a reactionary force that must be counteracted through democratic control over capital; this is particularly salient in light of the colossal transformations in production and housing that the climate crisis would require. Autonomists, on the other hand, claim that this intransigence on part of capital is because large-scale investment of capital is increasingly unnecessary. The dirty material world belonged to a historical phase of capitalism, one that we have transcended. And this is where our troubles begin.

The widening of the traditional Marxian notions of productivity beyond the muscular Soviet male factory worker are much welcome, and thankfully fairly uncontroversial today. Yet the extension of this immaterial lens to all of society, optimistic though it might seem, tends to display a certain agnosticism to actually existing labour processes, particularly to those that tend to be invisibilised in the global North. Now, contemporary capitalist crisis has indeed sparked a much wider debate surrounding the processes of accumulation that are hegemonic today, and nobody can deny that capital does seem to flood precisely those parts of the world where immaterial labour dominates. Does that not imply that we have indeed transcended factory labour, if capital no longer cares to touch it?

What is missing from this equation is an analysis of the fact that while a hairdresser or a barista is able to pull themself out of the circuits of capital and reproduce themselves in France or Germany, this is clearly out of reach for their counterparts in Brazil or Indonesia. The autonomist choice to disengage from wage labour is one that can only be made in Europe without subjecting the worker to absolute impoverishment in the process. And this is not because the wage has already been rendered obsolete, but rather the inverse—it is precisely because the global North is both governed by the wage form, and capable of commanding the highest wages in the world. There is still a broad range of physical commodities that autonomists regularly need to acquire: second-hand sound systems, used mobile phones, cigarettes, coffee and cocaine; even electricity, clean water, and access to healthcare. They may attempt to acquire these extra-capitalistically, through soli-fundraisers or community care, yet these attempts all hinge on the fact that the overdeveloped world, through its extraordinarily high wages, consists of a considerable surplus of commodities. The autonomist lifestyle still requires other Europeans to continue to participate in the market. But if the autonomists are correct, and capital today relies solely on commodifying the social, what explains this global wage discrepancy?

There are many reasons why even the cheapest solidarity coffee costs upwards of €2 in Germany, compared to a measly 10 cents at a (decidedly unsolidarisch) Indian tea house. To analyse this requires an explication of the differences between the various forms of immaterial labour, of which social reproductive labour is just one subset. And a large proportion of global North workers is engaged in other forms of immaterial labour: working in tech, or marketing, or worse, in the dread worlds of finance and consulting. These labour processes can position themselves on top of value chains, explicitly diverting surplus value towards themselves to generate hyperprofits through their use of political power. Google and Meta can thus utilise vast data holdings to target consumers and sell endless iterations of products manufactured in China, built on the tantalum extracted from the Congo Basin. Bayer and Novo Nordisk can generate broad swathes of pharmaceutical intellectual property, making billions of dollars off people’s demand for an insulin that we already know how to produce. H&M and Zara can insert themselves into the mill labour process in Bangladesh, producing affect through branding, while invisibilising their liability through chains of subcontractors, all the while raking in vast profits beyond the wildest dreams of mill worker and owner alike.

These advantages trickle down to other workers (whether inside or outside capital) in the global North, both through enabling the high purchasing power of a society engaged in the profit-attracting labour processes, and through the existence of well-funded welfare states, who derive their spending power from taxing domestic capitalists. And in this sense, autonomist logic inverts not only Marx, but also Rosa Luxemburg. Capital may need an outside to sustain itself; but even more pressingly, so does the autonomist “outside” require capital for its continued reproduction.

Autonomist theorists have taken critiques of their positioning to heart. Already, the turn of the millennium saw renewed enthusiasm in analyses of immateriality, with the release of Empire, co-authored by Michael Hardt, and a still-productive Negri (now having returned from French amnesty to serve out his prison sentence in Italy). The book begins with a call for nuance, calling earlier framings “too pure”, “almost angelic”. They join dependency theorists in critiquing developmental analyses of the position of the global South, describing very clearly the presence of a global hierarchy of nation-states. And while they are somewhat light on the details of how immateriality reinforces this hierarchy, they succeeded in opening ground for fertile debate: sparking three sequels and considerable discourse, allowing theorists like Nick Dyer-Witheford and Rodrigo Nunes to explicitly highlight precisely the mechanisms through which this hierarchy is maintained.

But praxis lags theory, particularly in circles that weaponise accusations of being “all theory no praxis” to partake in self-indulgence-as-praxis. Obstinately viewing their forms of immaterial labour as not only merely hegemonic but somehow all-encompassing, autonomists can whole-heartedly simulate a faux-exit from capitalist relations, blissfully ignorant to their reliance on these relations in the first place. Viewing pesky details like the existence of fixed capital as no longer relevant, they can avoid having to engage with other pesky details like the allocation of said capital. And in Germany, as the optimistic counterpart to the pessimism of Frankfurt school, autonomists can dismiss any notion of social class(es) as proto-Nazism, thereby cementing a tenuous partnership with the antideutsche.

This critique should not be read as advocating defeatism. Ultimately, the goals that autonomists fight for are noble: combating the expansion of commodification, attempting to maintain and resurrect the ability to reproduce society without every aspect of life turning into an asset to be sold to private equity firms. But without a broader understanding of their own positioning in global capitalism, there is always the risk that many autonomist demands—such as the compensation of “immensurable” social labour with some sort of universal basic income—could easily result in a restoration of the offloading of capitalism’s brutality to the periphery, combined with increasingly restrictive migration to keep these crises distant from the core.

This critique is therefore a call to expend energy in better ways than merely withdrawing from capitalism when it violates an aesthetic code. It is a call for a deeper engagement with capitalism beyond the narrow space of the battles that surround how a society deeply disconnected from material realities should be reproduced. It is a call for an acknowledgement of the fact that organising a decommodified rave in a German forest is not resistance; it is in fact utterly uninteresting to capitalists, who have bigger fish to fry. The fight against capitalist domination must centre genuine solidarity, and strike where exploitation and expropriation are at their most brutal, rather than partake in a self-congratulatory withdrawal of the navel-gazing beneficiaries of this domination.

Today, this engagement must begin with the complicity of European capital in the genocide in Gaza. And if inspiration for praxis is lacking, perhaps they could look to their own intellectual predecessors: to the Italian workers that prided themselves on their ability to bring capital to a grinding halt through good, old-fashioned sabotage.

Talking about the British election, Palestine solidarity, and disco music

Report from a German delegation at the Marxism 2024 Conference in London


13/09/2024

In July 2024, 3,500 people took part in the Marxism Conference in London. Among them were a group of over 50 people from Germany, mainly in and around the German organisation Sozialismus von Unten (SVU) and/or theleftberlin.

The conference started on 4th July, the day of the British election, where the ruling Conservatives suffered a crushing defeat. The main victors were Keir Starmer’s Labour Party (although Labour received fewer votes than in the previous 2 elections when the party was led by Jeremy Corbyn). An unprecdented 5 independent pro-Gaza MPs were elected, including Corbyn, who had been banned from standing for Labour.

The other main victor at the election was Nigel Farage’s right wing Reform party. Because of the peculiarities of British election logic, Reform did not win many seats, but they are poised to pounce if and when Keir Starmer’s Labour break their minimal election promises. The rise of the international far right was one of the two topics which dominated many of the discussions at the Conference. The German delegation was able to report from the recent attempt to close down the AfD Conference in Essen.

The other topic was Palestine solidarity. On the Saturday afternoon, Conference took a pause so that we could all attend the 100,000 strong Palestine demo. Many of the delegates from Germany were surprized, not just by the size of the thing, but also by the relative lack of police presence. Marching through London gave us a sense of our power.

When we returned from the demo, the next session was supposed to feature Corbyn talking about radical poetry. He was severely delayed, as he’d also been demonstrating and had stopped to chat with the many journalists wanting to talk to him. Once he arrived, he read the room, threw away his poetry speech for another time, and talked about his extraordinary electoral success and the challenges facing the British and international Left.

The room was full, and many people were stuck outside, so Corbyn went into the hallway and repeated his speech. Whatever criticisms one might have about some of his strategical decisions, Corbyn and the other independents are acting as a lightning rod to channel the opposition to a Starmer government which has already finished its honeymoon period.

theleftberlin was also able to organise a stall selling t-shirts and tote bags, making a total of €1000. Half of the profits will go to people in Gaza, the other half to supporting our activities in Berlin (including this website). We were also able to chat and make links with other international activists who visited our stall.

As well as the several discussions on Palestine, the far right, and the elections, there were meetings on everything from a new graphic novel about Toussaint L’Ouverture and the Haitian slave revolt to the politics of disco. After the conference, I asked some of the people there about their experiences. You can see some of their answers below.

 

Digital Romanticism in The Elder Scrolls

History, Landscape and Identities


11/09/2024

Fantasy settings can make the exploration of topics such as power, identity, society, class struggle and social division more accessible. By analysing how The Elder Scrolls tackles issues related to fascism and authoritarianism, players can get a better understanding of how these ideas manifest in society and how they might be resisted.

The Elder Scrolls is a series of video games developed by the American company Bethesda and set on the fictional continent of Tamriel. Each video game has its own narrative, both in chronological and geographical terms. Through the exploration of the different territories generated by its open world maps, we see how the digital landscape becomes an active agent in the creation of identities and characters that inhabit it.

The saga stands out for enabling a historical analysis linked to romantic landscape narratives of the 19th century, which are reinterpreted in the digital dimension through the generation of environments as literary tools. In this article I aim to analyse the aesthetics manifest in the representation of races/ethnicities in The Elder Scrolls in relation to landscape and architecture. These generate a historical dialogue between past and present, and emphasize the use of romantic visual references as a source of inspiration by the creators of the saga. 

The rise of nationalist movements and authoritarian governments globally has been marked by similar narratives to those found in the game, where the state’s power is centralized, often at the expense of freedom of speech and human rights violations. The game’s exploration of these themes can be used to discuss how authoritarian ideologies gain traction and the consequences of unchecked nationalism. When we analyse how the game portrays the use of myths and historical narratives, it will prove useful in understanding how fascist movements utilize similar strategies such as the romanticization of a “pure” national history to shape public opinion through media consumption. 

Geography and races

To introduce the setting, it is pertinent to present the map and the races that inhabit the continent of Tamriel, in which each territory hosts different towns and cities. The main areas are: Skyrim, Morrowind, Black Marsh, Cyrodiil, Elsweyr, Hammerfell, High Rock, Morrowind, Summerset Isles and Valenwood. The races that are distributed in three political alliances are: the Aldmeri Domain made up of the Altmers (high-elves), the Bosmers (elves that work wood), and the Khajiits (anthropomorphic felines); the Daggerfall Covenant made up of the Bretons (Manmeri, Hominids), the Redguards (Yokudans, Hominids), the Orsimer (orcs), and the Ebonheart Pact made up of the Dunmer (dark elves), the Nords (Atmorans, Hominids) and the Argonians (anthropomorphic reptiles).

Each of these groups is depicted with distinct idiosyncrasies, determined by a conception of historical reality where the dichotomy between East and West is perceptible; The Bretons and Redguards are two of the three human groups in the game represented by opposite features. In the case of the Bretons, the story places them as direct descendants of the Altmers (the dominant race and culture in the whole Elder Scrolls Saga), but the Redguards are relegated as remnants of a fleet of warriors from a remote island called Yokuda. Although both groups belong to the same humanoid category, the narrative clearly emphasizes a separation in their origins.

Alterity and environment

It is important to emphasize the portrayal of the feline Khajiit in relation to their environments and attributes, as they are a race of anthropo-zoomorphic beings characterized by an imagined sense of otherness. They are depicted as nomads, traders of fabrics and everyday goods, and traffickers of a drug called “Skooma,” which alludes to opium. The name of their homeland, Elsweyr, is a deliberate play on the term “elsewhere,” reinforcing their association with a distant, marginal space.

Another example of ideological representation in The Elder Scrolls series is the characterization of the Redguards, a human community of Black warriors depicted with a monolithic and temperamental personality. Their environments are portrayed through the imagery of arid, desolate deserts, with sparse vegetation and minimal urban development. This setting reflects the narrative of “imaginary knowledge” that Edward Said describes in Orientalism, where European geographical and historical understandings of the boundaries between East and West are shaped by a discourse of power. Said explains that this dichotomy stems from a portrayal of Europe as “powerful and capable of expression,” contrasted with an Asia depicted as “defeated and distant,” thereby framing Eastern regions as “silent and dangerous” territories.

In the game, landscapes corresponding to European aesthetic traditions, used as visual resources in medieval fantasy, are more prominently featured and host various races of characters that play central roles in the narrative. This visual contrast exemplifies Said’s argument about the relationship of domination between East and West. The Redguards’ environments, lacking monumental architecture and characterized by minimal vegetation, align with Said’s descriptions of “loss, void, and disaster,” reinforcing the perceived disparity between Eastern and Western spaces.

The Nords, a human race characterized by stereotypical elements of Viking culture, are situated in a mountainous region with cities marked by distinct and well-defined architecture. Unlike the stylistic pastiche seen in the Khajiit’s architecture, the constructions in Nord territories are explicitly modelled on medieval architectural ideals. The Elder Scrolls V: Skyrim (2011), which is set primarily in this region, portrays the Nords as conquerors, emphasizing their brutality, explorative nature, and capacity for invasion. The game also underscores the nationalist ethos of the Nords, who are depicted as the rightful heirs and true rulers of Skyrim, and describes them as “children of snow,” imbuing them with an almost divine status.

Romantic models

The High Elves, or Altmer, inhabit the Summerset Isles, a region characterized by grand cities and architectural structures inspired by European Gothic Revival styles. As the primary race credited with the cultural development of Tamriel, they are positioned at the center of civilization in the game’s lore. The urban landscapes of the Summerset Isles evoke a romanticized vision of Western agrarian life, emphasizing ideals of simplicity, harmony with nature, environmental stewardship, and sustainable living. The game attributes much of the craftsmanship, art, and scientific knowledge found throughout Tamriel to Altmer tradition, reflecting their role as the driving force behind the political and cultural alliance of the High Elves.

The Elder Scrolls, as a multimedia RPG production, incorporates a literary framework typical of epic fantasy, drawing inspiration from recognizable Romantic models. The Industrial Revolution established a distinct dichotomy between rural and urban spaces, with rural areas gaining ideological prominence and becoming the idealized focus of Romantic landscape art. Theorists like John Ruskin and Viollet-le-Duc championed Gothic architecture as a distinctly European architectural language, aligned with the patriotic ideals characteristic of nineteenth-century nationalist and regionalist thought. This idealization of European national identities, coupled with the underdeveloped gender policies of the Enlightenment and the operations of colonial machinery, positioned landscape as a tool for transmitting content that ultimately served as ideological propaganda in defence of bourgeois interests.

The themes are clear: the sublime, the picturesque, the ruins, medieval nostalgia, and nature. These elements shape and define Romantic landscape painting, as they address concerns central to the narratives of fantasy literature. The movement to revalorize Gothic architecture led to the conceptualization of historic buildings as symbols of an idealized past, which, in turn, fostered a sense of national unity.

Industrial context

In the games The Elder Scrolls Online and The Elder Scrolls III, there is a place on the map known as Clockwork City, where the game’s timeline seems to diverge from the rest of the narrative. This secretive and difficult-to-access city is located within a small metal sphere hidden somewhere in Mournhold, a city in the Morrowind region, and requires the character to shrink in order to enter. The architecture of Clockwork City is particularly noteworthy, as it features a distinct urban environment unlike any other in Tamriel, drawing inspiration from steampunk aesthetics and industrialized contexts.

This city is exclusively populated by the so-called “Fabricants”, hybrid creatures of mechanical and organic components that do not belong to any of the main races, are native to this city and do not have a presence in any other region. The creation of this city is no coincidence. In the middle of the 19th century, with an already consolidated industrial revolution, the radical exponential and uncontrolled growth of cities generated massified neighbourhoods that resulted in precarious living conditions for the working class and a conceptual change in the representation of the landscape image.

We find narrative similarities to Clockwork City in other regions populated by the main races of the game. These conceptual changes that historically arose from artists and thinkers contributed to the literary substratum of the streams of thought such as British empiric philosophy, which already in the 18th century defended the value of the picturesque and the subjective. The consequences of the picturesque genre, especially in the English context, had a direct connection with the beginnings of the tourist routes that the bourgeoisie who lived in cities frequented, visiting rural places and spaces such as private villas, medieval ruins, houses, forests, neo-Gothic buildings, castles, etc. It is imperative to point out how Clockwork City’s design operates in these clear city-looking industrial aesthetics, and how its discursive treatment in the game relegates it to a residual and hostile environment, the same way the bourgeoisie depicted cities as dirty spaces destined for the working class to inhabit. 

To conclude 

These are just some of the examples in which The Elder Scrolls, among many other videogame productions belonging to the genre of RPGs and specifically high-fantasy, enable discursive decoding tools through scenography elements in which historical and ideological narratives are embedded under the pixels of our screens. 

In reviewing the amended contexts we can see how The Elder Scrolls is imbued with contemporary vestiges of a specific historical visual culture. In it, Western cosmovisions of the past are explicit and intertwined, consequently expressed in the representations of identities, landscapes and architectures of the game. 

It is not surprising that, even in fictional popular productions, where fantasy and imagination are the core for the creation of otherworldly possibilities, there isn’t even a break with the dominant ideological structures from the past and the present, as art is, and will always be, a product from it’s political, historical and social context. 

This article was originally published in Catalan in Ab Origine Magazine, and has been translated with minor changes by the author.