This short seminar aims to introduce the concept of populism in economics in terms of its causes (i.e., globalization, income inequality, financial crisis), its mechanism of execution in economics by the populists (i.e., macroeconomics and institutions of populism), and its consequences. The economic argument for populism is straightforward: poor economic performance feeds dissatisfaction with the status quo. It fosters support for populist alternatives when that poor performance occurs on the watch of mainstream parties. Rising inequality augments the ranks of the left behind, fanning dissatisfaction with economic management. Declining social mobility and a dearth of alternatives reinforce the sense of hopelessness and exclusion. However, unlike the argument they use when they are in opposition, in power, by denying and undermining professional and autonomous institutions, discrediting science and scientific knowledge, and rejecting resource constraints in economics, populists would give even more harm to the people they promised to help.
This lecture looks at far right populist politics in the French presidential and legislative elections in 2022. It discusses the complexification of the far right in France, with the emergence of Eric Zemmour alongside Marine Le Pen’s established National Rally, and looks at the cultural, economic and political factors behind the rise of the far right. Finally, the lecture discusses the implications of the recent wave of RN’s MPs in the National Assembly which provides the far right with new opportunities for further institutionalization within the French political system.
Populism is Janus-faced. There is not a single form of populism but rather a variety of different forms, each with profoundly different political consequences. Despite the current hegemony of authoritarian populism, a much different sort of populism is also possible: democratic and anti-establishment populism, which combines elements of liberal and democratic convictions. When we examine the relationship between populism and constitutional democracy, populism should not be considered in isolation from its host ideology. Examples of democratic, liberal, socially inclusive forms of populism quite clearly show that authoritarianism and anti-pluralism are not necessarily the key elements of populism. However, the paucity of democratic populism also suggests that we have to look at factors other than ideology to understand why nativist and authoritarian populism currently dominates the political scene. Without understanding the political economy of the populist revolt, it is difficult to understand the true roots of populism and, consequently, to devise an appropriate democratic alternative to authoritarian populism. The ascendancy of right-wing nationalist populism today is a symptom of the failure of progressive politics.
We are looking for motivated interns to join our team. As an intern, you will have the opportunity to improve your analytical thinking, academic writing, research conducting, and organisational and networking skills in a multicultural and dynamic environment. The internship will start in May 2023 and last for six months.
Your main tasks will be:
• Conducting academic research (mainly desk research) and writing essays/commentaries/articles related to the topics covered by ECPS Research Programs: authoritarianism, digital populism, economics, gender, migration, environment and climate, extremism and radicalisation, foreign policy, human rights, global peace and order, leadership and persona.
• Prepare briefs and reports of monthly and annual activities (panels, seminars, conferences) to be published on the ECPS website.
• Assisting the ECPS experts in the preparation and organisation of various events (book talks, seminars, panels, summer school, symposiums).
• Supporting the ECPS team in communication activities (e.g., preparation of online Newsletter) and in the management of social media accounts.
• Contributing to the applications for various projects (e.g., EU-funded projects).
• Contributing to the implementation of the ongoing projects (Depending on the ECPS role in the project, interns will assist the team in data collection, report writing, dissemination and communication activities, event organisation etc.)
Who we are
The European Center for Populism Studies (ECPS) is an independent, nonpartisan, nonprofit organization based in Brussels for research on and analysis of challenges posed by increasing political populism. ECPS promotes open society by adhering to the principles of liberal democracy, including the rule of law, human rights, pluralism, freedom of speech, gender equality, social and environmental justice, transparency, and accountability. It does so by facilitating collaboration among networks of academic experts, practitioners, policymakers,
media, and other stakeholders, offering a platform for exploring policy solutions on issues relating to rising populism and providing insights for policy-making and critical analysis. To this end, ECPS prepares research publications, policy reports, white papers, and commentaries, conducts interviews with experts and organises events, seminars, workshops, and conferences.
Qualifications and Experience
Essentials
• Possess at least a master’s degree in social sciences (applications from master’s students at the stage of dissertation writing will be accepted)
• Knowledge and/or interest inglobal politics and populism-related topics, particularly in, but not limited to, the European context
• Knowledge and experience in academic writing
• Knowledge of scientific methodology (qualitative or quantitative research methods)
• Fluency in the English language (both verbal and written)
• Excellent influencing, facilitation and communication skills (both orally and in writing)
• Being able to work, organise and prioritize autonomously
• Being competent in off-the-shelf software (MS Excel, Word, Outlook and PowerPoint)
• A collaborative team member
• Experience of work/study in a multicultural environment
• Possess a creative, proactive and open mindset with high respect for deadlines.
Desirable
• Knowledge of French and/or Flemish or a second official European language will be an asset.
What we offer
• Enlarge your network with academics, policymakers, project experts and other stakeholders across Europe
• Learn about populism and gain a deeper insight into contemporary issues in European and global politics
• Publish your research product and related outputs through ECPS
• Take part in the EU events, academic conferences, seminars, workshops, project preparation and implementation activities in Brussels
• Improve your organisational, communication and networking skills through actively taking part in ECPS events
• Opportunity to be a permanent member of the ECPS Youth
• Gain invaluable experience in an international and multicultural environment
Internship conditions
• The internship is unpaid, remote and part-time for 6 months starting in early May 2023.
How to apply?
If you are interested in joining us and making ECPS your next professional experience, please send your CV and cover letter (1-page maximum) to Seyma Celem at her email address scelem@populismstudies.org by 30 April 2023 by 12:00 am CET, with the subject line “Internship at ECPS”.
Unfortunately, we cannot respond to every application; only short-listed candidates will be contacted. However, all applications will be kept in file, and candidates will be contacted if a suitable opportunity arises. The information provided in the applications is subject to EU legislation on the protection of personal data and confidentiality of information.
ECPS is committed to diversity and inclusion to ensure that everyone has equal opportunities for employment, advancement, and retention, regardless of their gender, age, nationality, ethnic origin, religion or belief, cultural background, sexual orientation, or disability
Dr John Pratt(Emeritus Professor of Criminology at the Institute of Criminology, Victoria University of Wellington, New Zealand)
Panelists
“From past to present: The question of populism, extremism and the far right in Australia,”by Dr Imogen Richards (Lecturer in Criminology at Deakin University, Melbourne, Australia).
“Racism, white privilege and white supremacy in Australia,” by Dr Rachel Sharples (Lecturer of Sociology in the School of Social Sciences, Western Sydney University, Australia).
“Masculinity, Populism and Religion in Australia,” by Dr Josh Roose (Political sociologist and Associate Professor at the Alfred Deakin Institute for Citizenship and Globalisation in the School of Humanities and Social Sciences at Deakin University, Melbourne, Australia).
Lukasz Janczuk is the co-founder and lead designer at Juggler Games and a former Design Manager at CI Games. Janczuk was ‘My Memory of Us’ lead designer. My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, stealth elements, and a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game about friendship, love, and survival during a war.
Dr Angus Mol is a Games Studies scholar from Leiden University. ‘Bury Me My Love‘ is a game about distance. It is a game which places front and centre relationships between humans, how they interact, and what drives people to take a leap into the unknown and risk their lives in the hope of reaching safety. The eponymous phrase, ‘Bury Me My Love’, is an Arabic expression to take care roughly meant to signify, “don’t think about dying before I do.” The game is inspired by but does not tell, the real-life story of Dana, a Syrian woman having left her country in September 2015. Both the journalist who wrote the article on Dana’s story and Dana herself working as part of the game’s editorial team (Le Monde, 2015). Developed by The Pixel Hunt in 2015, Bury Me My Love is a branching text-based narrative based around the story of people on the move during the 2015 Syrian refugee crisis. Its main characters are Nour and Majd, a young couple from Homs, Syria. The player takes on the role of Majd, having stayed behind in Syria to take care of his mother and grandfather, while his partner, Nour, goes on to attempt the journey to Germany in order to receive refugee status there. Much of the game is based on three core mechanics which impact the outcomes of choices made throughout Nour’s journey: Time; the itinerary; and finally, Nour’s own variables of morale, budget, her relationship with Majd, and what she has or does not have on her person in key moments. With this expansive and branching narrative, there are 50 different locations to go through and nineteen possible endings for Nour’s journey, with widely divergent outcomes.
Tigs Louis-Puttick, Communications and Advocacy Coordinator for Samos Volunteers, a non-profit organisation supporting refugees and asylum-seekers on Samos. ‘Bury Me My Love‘ is a game about distance. It is a game which places front and centre relationships between humans, how they interact, and what drives people to take a leap into the unknown and risk their lives in the hope of reaching safety. The eponymous phrase, ‘Bury Me My Love’, is an Arabic expression to take care roughly meant to signify, “don’t think about dying before I do.” The game is inspired by but does not tell, the real-life story of Dana, a Syrian woman having left her country in September 2015. Both the journalist who wrote the article on Dana’s story and Dana herself working as part of the game’s editorial team (Le Monde, 2015). Developed by The Pixel Hunt in 2015, Bury Me My Love is a branching text-based narrative based around the story of people on the move during the 2015 Syrian refugee crisis. Its main characters are Nour and Majd, a young couple from Homs, Syria. The player takes on the role of Majd, having stayed behind in Syria to take care of his mother and grandfather, while his partner, Nour, goes on to attempt the journey to Germany in order to receive refugee status there. Much of the game is based on three core mechanics which impact the outcomes of choices made throughout Nour’s journey: Time; the itinerary; and finally, Nour’s own variables of morale, budget, her relationship with Majd, and what she has or does not have on her person in key moments. With this expansive and branching narrative, there are 50 different locations to go through and nineteen possible endings for Nour’s journey, with widely divergent outcomes.
Jakub Jablonski is the co-owner and co-founder, art director, and creative director of Juggler Games. ‘My Memory of Us‘ is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, stealth elements, and a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game about friendship, love, and survival during a war.
Fernández, Iván Escobar. (2023). “COMTOG Report: ‘My Memory of Us’ — Boosting Historical Memory Through Implicit Visual Metaphors.” Never Again Initiative. European Center for Populism Studies (ECPS). April 3, 2023. https://doi.org/10.55271/rp0037
My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city that has been divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, and stealth elements, as well as a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game that tells a story of friendship, love, and survival during a war.
By Iván Escobar Fernández*
Introduction
Collective memory has been approached by scholars in two main ways. One definition, put forth by Olick (1999), views collective memory as the symbols that are publicly accessible and maintained by society. On the other hand, other researchers have defined collective memory as the collection of individual memories shared among members of a community that contribute to the formation of the community’s collective identity (see Hirst & Manier, 2008 and Wertsch & Roediger, 2008). Indeed, Collective Memory plays a crucial role in contemporary societies, not only in forging individuals’ and nations’ identities (see Sierp, 2014) but also in shaping states’ foreign and security policies (Rosoux, 2019: 194). In any case, despite being defined and addressed differently, what can be seen in the existing literature is that there is a rich pluralism of mnemonic devices individuals and collectivities use to remember the past (Conway, 2010).
The rich diversity of mnemonic devices used by individuals and organizations highlights the fact that there is no one-size-fits-all approach to addressing Collective Historical Memory (see Erll, 2022). According to the literature, it can be approached in two ways: explicitly, through the conscious and official creation of memorials, monuments, sculptures, and festivities, among others, and implicitly, by using visual symbols without directly referencing historical facts and dates (see Erll, 2022; Trodd, 2013; Keifer-Boyd et al., 2007; Schacter, 1987). This latter approach, known as implicit memory, can take different pathways, such as visual history or visual culture, which underscores the significant role that visual artefacts such as paintings, photographs, films, and video games play in shaping our perception of the past (Keifer-Boyd et al., 2007), or national narratives, which exalts some particular events or facts in order to create unconscious feelings and stories among the society (Erll, 2022). Nonetheless, approaching Collective Historical Memory as a visual subject has not been free of criticisms since it has been argued that it can lead to Manichean narratives and banalize the evil, thus distorting memory, decontextualizing suffering, and disassembling it from history (Ibrahim, 2009).
Regarding the relationship between video games and Historical Collective Memory, the formers have become an important tool for exploring and shaping the latter through visual culture and national narratives. As interactive experiences, video games allow players to engage with historical events and characters in ways that are more immersive and personal than other forms of media. Moreover, the visual elements of video games, such as character designs and environments, can play a significant role in how players perceive, recreate, and remember history (see Lee & Probert, 2010; Parks, 2008). Furthermore, it is believed that video games can reflect and reinforce national narratives, perpetuating dominant interpretations of historical events and shaping the Collective Memory of society, playing a key role in preserving, challenging, and/or shaping how we understand and remember the past (Chapman, 2016).
The aim of the report is to analyze video games that tackle historical events from an implicit perspective and explore the potential impact of such games on historical awareness and preservation. Through the examination of a case study, namely “My Memory of Us”, the report will evaluate whether they can effectively raise awareness of historical events and promote the preservation of historical memory. The implicit approach of the games will be considered as a means to engage players and encourage them to learn about historical events in a more interactive and immersive way. Ultimately, the report aims to determine whether video games can be an effective tool for educating players about the history and contributing to historical preservation efforts.
To determine if utilizing visual metaphors in video games can enhance historical collective memory without explicitly referencing specific historical facts and dates, we interviewed four experts on the subject. Jakub Jablonskiis the co-owner and co-founder, art director, and creative director of Juggler Games. Lukasz Janczukis the co-founder and lead designer at Juggler Games and a former Design Manager at CI Games. Janczuk was My Memory of Us’ lead designer. David Kirschneris an Associate Professor of Sociology and Chair of the Department of Human Services and Cultural Studies at Georgia Gwinnett College. Wojciech Soczewica is the Chief Executive Officer of the Auschwitz-Birkenau Foundation.
Analysis
It is worth reminding that the aim of this branch of the COMTOG Project was to assess the strengths and weaknesses of using video games to approach Collective Historical Memory from an implicit perspective. In sum, after conducting the semi-structured interviews, all four interviewees agreed that video games could be an effective tool in boosting Collective Historical Memory. However, there are some considerations that must be pointed out.
During the interviews, both game developers, Jakub Jablonski and Lukasz Janczuk, unanimously stressed the importance of video games as a learning tool and as a medium for inspiring people and opening up avenues for further discussion. Beyond being a product meant for entertainment, they believe that video games have the power to spark imagination and creativity in players, as well as encourage critical thinking and problem-solving skills. Additionally, they have argued that video games can be used to explore complex themes and issues in a way that is engaging and accessible to a wide audience. In their point of view, video games can make players start asking questions about past and contemporary complex issues, thus opening the floor for further discussions and boosting players’ interest in the topic. In this same line, Dr Kirschner argued that games could be a priceless learning tool not only for younger generations but for all cohorts in society, being able to teach not only historical facts and events but also reasoning through experience.
On the other hand, Wojciech Soczewica showed some concerns regarding the usefulness and applicability of video games in addressing traumatic past events like the Holocaust. Although he stressed the importance of integrating new technologies and strategies in preserving Collective Historical Memory, he mentioned that there are several ethical considerations to be borne in mind when reconstructing such a traumatic past, even digitally. In his opinion, in order for video games to properly address the past and therefore preserve Collective Historical Memory, they should focus on education rather than on entertainment. Without disagreeing with Soczewica’s statement, Dr Kirschner emphasized the necessity of integrating guidance from a teacher or professor when using video games for educational purposes. By doing so, some of the weaknesses involved in implicitly conveying historical facts through video games and visual metaphors can be overcome, thereby enhancing their potential as learning tools. This view was also shared by the creators of the game, Jakub Jablonski and Lukasz Janczuk, who argued that video games can be used for educational purposes but not in isolation. Specifically, both Jablonski and Janczuk emphasized that, while presenting “My Memory of Us” to audiences around the world, they encountered some players from different countries, especially the United States, who could not make a connection between the visual metaphors used in the game and the Second World War and the Nazi invasion of Poland. This underscores the importance of integrating guidance from an expert, as advocated by Dr Kirschner.
Furthermore, all four interviewees agreed that individual perspectives are an important part of Collective Historical Memory and that a nuanced understanding of past events requires an appreciation of the perspectives of all those involved. This idea is particularly evident in the game “My Memory of Us,” which integrates real stories from individuals into its fictional narrative. By including these stories, the game’s creators, Jablonski and Janczuk, were able to give players a more personal and emotional connection to the events of the Second World War and the Nazi invasion of Poland. Even Soczewica, who expressed some reservations about the use of video games to address traumatic past events, acknowledged the importance of personal stories in shaping our Collective Memory. By incorporating individual perspectives into its narrative, “My Memory of Us” highlights the importance of preserving and sharing these stories as a way of enhancing our collective historical memory.
Last but not least, it is also worth noting that the game developers and Dr Kirschner put emphasis on the capacity of video games to transmit universal emotions and feelings that can travel across time and space. Beyond depicting historical events, video games also have the potential to convey emotions and feelings associated with historical events without explicitly referring to them. By immersing the player in a virtual world and allowing them to experience the narrative firsthand, video games can create a powerful emotional connection that other forms of media may not be as effective at achieving. This is especially relevant in the context of Collective Historical Memory, as it can stimulate empathetic emotions in players that can then be transmitted into the real world, helping us sympathize with past victims and recognize the traumatic nature of historical events as well as preventing future similar atrocities from happening. In this same line, while Dr Kirschner and the game developers emphasized the potential of video games in promoting empathetic connections with the past, Soczewica also recognized the importance of Collective Historical Memory in shaping the future. From a different perspective, Soczewica sees that memory and remembrance serve not only to honour the past but also to pose warnings and morally inspire us to take action in the present. By reflecting on our shared history, we can learn from the mistakes of the past and work to prevent similar atrocities from happening again in the future.
Conclusion
In conclusion, aligned with the existing literature (see Chapman, 2016; Lee & Probert, 2010; Parks, 2008), it has been found that video games have the potential to approach historical collective memory implicitly, and all interviewees agreed on the importance of video games as a tool to boost Collective Historical Memory. However, as some scholars have previously pointed out, some challenges, such as misinterpretations and decontextualization of narratives, may arise (see Ibrahim, 2009). We have found that by integrating theoretical and professional guidance, these challenges can be overcome, enhancing the potential of video games as learning tools. Furthermore, it can be said that integrating individual perspectives is essential to address Historical Memory implicitly, and this was emphasized by the creators of “My Memory of Us,” who integrated real stories from individuals in the game’s fictional story. In sum, combining the power of video games with theoretical and professional guidance and individual perspectives can be a successful strategy to promote empathy and understanding towards past events, contributing to preventing future similar atrocities from happening. The main findings of these interviews are summarized below:
Video games can be an effective tool for boosting collective historical memory, even without explicitly referring to specific historical facts and dates, but some ethical considerations must be taken into account when addressing traumatic past events and the emotions stemming from them.
Video games can be used as a learning tool for teaching historical facts and events, as well as critical thinking and problem-solving skills.
Integrating guidance from an expert or teacher can enhance the potential of video games as educational tools.
Video games have the potential to create a powerful emotional connection with players and promote empathetic connections with the past.
Considering the increasing popularity and outreach of video games, their potential should be unveiled to prevent new atrocities from happening, as they can help foster empathetic connections with the past, promote critical thinking and problem-solving skills, and encourage further discussions on complex themes and issues, all of which can contribute to the prevention of future similar events. Reflecting on our shared history through the use of video games can, therefore, be a valuable tool in educating younger generations and the wider public, shaping Collective Historical Memory, and creating a more empathetic and informed society.
ECPS’ Never Again initiative and COMTOG project
Our collective history offers stories of war, resistance, intolerance, and perseverance. ECPS’ Never Again initiative prompts us to look back at these memories of conflict and democratic backsliding so that we, citizens, can be better informed of their causes and realities. A wealth of research has highlighted how mainstream media, i.e., TV, film, radio & news, have shaped the collective memory of these conflict narratives. However, as media technology evolves rapidly, the research studying collective memory must evolve with it.
The Collective Memory Through Online Games (COMTOG) project has emerged under this Never Again initiative to showcase the educational and social potential of serious, transformative gaming (video games, LARPs, tabletop roleplaying games) relaying the realities of conflict through a nuanced, well-researched, and empathetic lens. COMTOG is set to publish a series of interviews exploring the research process, artistic direction, and dissemination of these conflict-centred games. The game creator’s insights are included in interviews alongside the experience of diverse experts in the field (i.e. historians, policymakers, activists), thus creating a resource improving historical serious games’ ability to aid active remembering.
Moreover, serious gaming can provide the population with an immersive experience that can be used for educational purposes such as raising awareness, boosting ethical values, and preserving collective memory. Existing research has found their integration into educational programmes promising and positively impactful. We aim to understand how serious games discussing and portraying the victims of the conflict were researched and developed to stimulate interest in creating similar kinds of games.
(*) Ivan Escobar Fernandez graduated in International Studies from Carlos III University of Madrid (2020) and a Master’s in Humanitarian Action and Conflict from Uppsala University (2021) and is currently pursuing a Master’s (MSc) in Social Sciences and Human Security from Aarhus University. He simultaneously works as a research assistant at the European Center for Populism Studies (ECPS) and is a member of the think tank International Youth Think Tank (IYTT). Ivan is the chief editor of the international affairs magazine The Global Vision and has collaborated with different media outlets such as The Defence Horizon Journal. His interests range from geopolitics, international relations, political science, and democratization processes to national and international security. He also collaborates with Versión Original: Revista de cine as a film analyst.
References
Chapman, A. (2016). Digital Games as History: How Videogames Represent the past and Offer Access to Historical Practice. Routledge, New York.
Conway, B. (2010). “New Directions in the Sociology of Collective Memory and Commemoration.” Sociology Compass 4, 442–453.
Erll, A. (2022). “The hidden power of implicit collective memory.” Memory, Mind & Media 1, 1–17.
Hirst, W., Manier, D. (2008). “Towards a psychology of collective memory.” Memory 16, 183–200.
Ibrahim, Y. (2009). “Holocaust as the Visual Subject: The Problematics of Memory Making through Visual Culture.” Nebula 6, 94–113.
Keifer-Boyd, K.; Amburgy, P.M.; Knight, W.B. (2007). “Unpacking Privilege: Memory, Culture, gender, Race, and Power in Visual Culture.” Art Education 60, 19–24.
Lee, J.K.; Probert, J. (2010). “Civilization III and Whole-Class Play in High School Social Studies.” Journal of Social Studies Research 34, 1–28.
Olick, J.K. (1999). “Collective Memory: The Two Cultures.” Sociological Theory 17, 333–348.
Parks, N.S. (2008). “Video Games as Reconstructionist Sites of Learning in Art Education.” Studies in Art Education 49, 235–250.
Rosoux, V. (2019). “The role of memory in the desecuritization of inter-societal conflicts.” In: Securitization Revisited. Routledge, pp. 194–217.
Schacter, D.L. (1987). “Implicit Memory: History and Current Status.” Journal of Experimental Psychology 13, 501–518.
Sierp, A. (2014). History, Memory, and Trans-European Identity: Unifying DivisionsFirst. ed, Routledge Studies in Modern European History. Routledge, New York & London.
Trodd, Z. (2013). “Am I Still Not a Man and a Brother? Protest Memory in Contemporary Antislavery Visual Culture.” Slavery & Abolition 34, 338–352.
Wertsch, J.V.; Roediger III, H.L. (2008). “Collective memory: Conceptual foundations and theoretical approaches.” Memory 16, 318–326.
