This is popular colonialism and it developed, he states, independently of the ‘organized enthusiasm of the upper classes’. It had to: a central claim of the book is that the official agencies of colonial knowledge and the organized colonial movement had no interest in including the lower classes in their discussions and gatherings. The regional colonial societies did not invite members of the working classes to participate in their meetings. Officers, government officials and businessmen formed the majority of attendees, with tiny numbers of petty civil servants, innkeepers or other small traders. The lower classes were addressed only as the objects of propaganda—or not addressed at all, for Empire was none of their business. In this regard, the plaintive letters requesting overseas deployment indicate some sort of autonomous thinking through of the self in relation to Empire. The letter-writers will not be admitted, of course, for they have no capital and their labour is superfluous. The colonies have labourers enough, African ones, overseen by the occasional European, who possesses them as he possesses capital. [...]
never really considered this angle before but of course it makes sense
The arcades, and the culture of consumerism these ushered in, is identified here as prerequisite of fascism, which cannot be understood without reference to capitalism, both in terms of its economic basis and in the way in which people are encouraged to conceive themselves, against all reality, as consumers and national masses, not workers and internationalists. At the same time, the arcades and other similar nineteenth-Century forms, such as railway stations, museums, exhibition halls, fizz with utopian promise, the promise of luxuries, of mobility, of knowledge. Benjamin is always alert to a dialectical switch in which the contemporary 'hell' of commodity production and capitalist society can be probed to reveal traces of hope, prefigurations of a communist society, but this is also the forging ground of a consumerist mentality that feeds fascism and an aestheticisation that amplifies the cultivation of myth. This is the ground on which fascism thrives. It goes both ways. Choices are to be made.
on Benjamin's Arcades Project. i really like the way this is written (esp the end0