Aestheticization of Politics

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This collage, featuring a diverse array of symbols and imagery, visually represents the concept of the aestheticization of politics. It describes how various symbols, icons, and visual motifs are used to convey political messages, evoke emotions, and shape public perception.

The concept of the aestheticization of politics was first introduced by Walter Benjamin in his 1936 essay "The Work of Art in the Age of Mechanical Reproduction." He described it as a key characteristic of fascist regimes, where politics becomes a spectacle. This spectacle allows the masses to express themselves without gaining any real rights or changes to the ownership structures they seek to overturn. Benjamin argued that fascism uses this aesthetic spectacle to maintain power while giving the illusion of participation. He contrasted this with the "politicization of art," which he saw as the communist response, where art serves a political purpose and exposes the social and cultural forces shaping it.

"Fascism attempts to organize the newly proletarianized masses without affecting the property structure which the masses strive to eliminate. Fascism sees its salvation in giving these masses not their right, but instead a chance to express themselves. The masses have a right to change property relations; Fascism seeks to give them an expression while preserving property. The logical result of Fascism is the introduction of aesthetics into political life. [...] Mankind, which in Homer’s time was a spectacle for the Olympian gods, has become one for itself. [...] Communism responds by politicizing art." ― Walter Benjamin

The aestheticization of politics has been linked to the Italian Futurist movement and its involvement with Italian fascism. However, the opposing concept, the "politicization of aesthetics," suggests that art is inherently political and can be used for political purposes. The historian Emilio Gentile argues that these two ideas are not mutually exclusive and often overlap.

In Benjamin's point of view, the politicization of aesthetics is the opposite of the aestheticization of politics. He saw the latter as a tool for totalitarian regimes to create fabricated myths. In contrast, politicizing art means recognizing its social and cultural context and using it as a force for change. Benjamin's concept has connections to Guy Debord's "The Society of the Spectacle," which further explores the role of spectacle in modern society.

Historical Context

The concept of the aestheticization of politics emerged in a period of significant social, political, and technological upheaval. Walter Benjamin, who first coined the term in his 1936 essay "The Work of Art in the Age of Mechanical Reproduction," sought to understand how aesthetics and politics were intertwined in this era of dramatic change. His work drew on a diverse range of influences, including Romantic literature, Marxist theory, and the emerging culture of mass media. He also traced the genealogy of aesthetics back to 18th-century Romanticism and even to ancient Greek discourses on passions, creating a rich conceptual framework for understanding the relationship between aesthetics, politics, and experience.

Later, Jacques Rancière critically engaged with Benjamin's concept, developing his own notion of "political aesthetics" to address contemporary issues such as ideology, individuation, and the changing role of art in society. His work further broadened the scope of the aestheticization of politics, incorporating insights from diverse fields such as philosophy, history, and political theory.

Several key factors contributed to the development of this concept:

Rise of the Avant-garde

The early 20th century witnessed the emergence of avant-garde art movements that fundamentally changed the world of art and challenged prevailing notions of art and its role in society. These movements, such as Dadaism and Surrealism, rejected traditional artistic conventions and embraced new forms of expression that often incorporated political critiques and social commentary.

Avant-garde artists sought to break down the barriers between art and life, blurring the boundaries between aesthetics and politics. They questioned the established hierarchies of the art world and challenged the idea that art should be confined to museums and galleries. Instead, they sought to engage with the broader public and use art as a tool for social change.

Benjamin saw these avant-garde movements as a potential source of revolutionary change. He believed that their rejection of traditional artistic forms and their engagement with social and political issues could pave the way for a new kind of art that was both aesthetically innovative and politically engaged. He argued that the avant-garde's emphasis on experimentation and its willingness to challenge the status quo could inspire new forms of social organization and political action.

Benjamin's analysis of the avant-garde went beyond simply recognizing their political potential. He also explored how these movements reflected the changing nature of artistic production and consumption in the age of mechanical reproduction. He argued that the avant-garde's embrace of new technologies, such as photography and film, challenged traditional notions of authorship and originality, leading to a democratization of art and its accessibility to the masses.

Furthermore, Benjamin drew connections between the avant-garde and the rise of mass media. He saw the avant-garde's use of techniques such as collage and montage as a reflection of the fragmented and disorienting nature of modern experience. He argued that these techniques could be used to create new forms of artistic expression that captured the complexities and contradictions of modern life.

In the later part of the 20th century, Jacques Rancière further developed these ideas, exploring how the legacy of the avant-garde continued to shape contemporary art and its relationship to politics. He argued that the avant-garde's challenge to traditional aesthetic hierarchies and its embrace of new forms of expression paved the way for the development of contemporary art's diverse and often politically charged practices.

The Impact of WWI and WWII

The two World Wars that ravaged Europe in the 20th century were unprecedented in their scale of destruction and brutality. Never before had humanity witnessed such devastating conflicts that engulfed so many nations and resulted in the deaths of millions. The technological advancements of the era, while offering progress in many fields, also facilitated the mass killing of civilians and soldiers on an industrial scale.

These horrific events left a deep scar on the European psyche and profoundly influenced intellectual thought. Benjamin, who personally experienced the horrors of World War II and ultimately took his own life to escape Nazi persecution, grappled with the question of how such barbarity could occur in a supposedly civilized world. He and other thinkers recognized that the aestheticization of politics played a crucial role in the rise of totalitarian regimes and the mobilization of mass support for war.

Benjamin's analysis of the Nazi regime, in particular, revealed how the aestheticization of politics could be used to manipulate public opinion and create a cult of personality around the leader. The Nazis' careful use of propaganda, spectacle, and symbolism created an illusion of unity and national purpose, masking the regime's true nature and its genocidal agenda. The mass rallies, torchlight parades, and monumental architecture of the Nazi regime all contributed to an aesthetic spectacle that both captivated and seduced the masses.

Benjamin argued that the aestheticization of politics in Nazi Germany was not merely a superficial phenomenon but a deeply insidious strategy for controlling the population. By creating a captivating spectacle that appealed to emotions and bypassed critical thinking, the Nazis were able to manipulate public opinion and gain widespread support for their policies, even those that were clearly destructive and inhumane.

The experience of the World Wars and the rise of totalitarian regimes served as a stark warning about the potential dangers of the aestheticization of politics. It demonstrated how aesthetics and culture could be weaponized to manipulate public opinion, suppress dissent, and justify violence. This realization led Benjamin and other thinkers to critically examine the relationship between aesthetics, politics, and power, paving the way for better understanding and awareness of how these forces interact in the modern world.

Technological Advancements

Benjamin recognized that technology was not merely a neutral tool but a powerful force that could be used to shape society and influence the human experience. He was particularly interested in how technology was transforming the realm of art and culture, with the development of photography and film at the time serving as prime examples.

However, Benjamin's analysis of technology extended far beyond its impact on art. He also examined how technological advancements in other fields, such as communication, warfare, and industrial production, were contributing to a fundamental shift in the nature of human experience. The invention of the radio and television brought news and entertainment into people's homes, transforming the way they received information and interacted with the world. The development of new weapons technologies, such as machine guns and poison gas, led to unprecedented levels of violence and destruction in warfare. And the application of new technologies in factories and manufacturing processes transformed the nature of work and the relationship between humans and machines.

Benjamin argued that these technological advancements were not simply isolated events but part of a broader historical process that was reshaping the relationship between humans and their environment. He believed that technology had the potential to both liberate and oppress, depending on how it was used and controlled. While technology could democratize access to culture and knowledge, it could also be used to manipulate public opinion, reinforce existing power structures, and even contribute to the dehumanization of society.

Benjamin's insights into the complex relationship between technology, aesthetics, and politics were further developed by Jacques Rancière. Rancière argued that technology played a key role in shaping the "distribution of the sensible," the way in which sensory experiences are organized and interpreted in a given society. He explored how technological advancements could alter the boundaries between the visible and the invisible, the audible and the inaudible, and the sayable and the unsayable, thereby transforming the very fabric of social and political reality.

Both Benjamin and Rancière recognized that technology was not simply a neutral tool but a powerful force that could be used to shape the aesthetic and political landscape of society. They emphasized the need for critical engagement with technology and its impact on the human experience, arguing that technology should be used to promote human flourishing and social justice, not to reinforce existing inequalities and power structures.

Nazi Germany and the Aestheticization of Politics

Architecture

The New Reich Chancellery in Berlin, designed by Albert Speer, was a monumental symbol of Nazi power and ambition. Its imposing scale and stripped-down neoclassical style exemplified the regime's use of architecture to project an image of authority and grandeur.

Nazi architecture, heavily promoted by Adolf Hitler and the Nazi regime from 1933 to 1945, was deeply intertwined with the aestheticization of politics. It aimed to convey the regime's power and ideology through imposing structures and urban planning. While Hitler himself believed that "form follows function" and criticized "stupid imitations of the past," Nazi architecture drew heavily on stripped neoclassicism, a vernacular style inspired by traditional rural architecture, and a utilitarian style for infrastructure projects.

The stripped neoclassical style, heavily influenced by Albert Speer, aimed to create an "impression of simplicity, uniformity, monumentality, solidity and eternity," reflecting the desired image of the Nazi Party. This style is evident in buildings like the Reich Chancellery, the Nuremberg Rally Grounds, and the Olympic Stadium in Berlin. These structures, with their flat roofs, horizontal emphasis, and lack of ornamentation, conveyed a sense of power and permanence.

The regime's fascination with ancient Rome and Greece also influenced its architectural style and typography. Massive structures like the planned Volkshalle were intended to evoke the grandeur of ancient empires and instill awe in the populace. However, unlike Roman or Greek architecture, these structures were designed to emphasize the power of the Nazi state rather than spiritual or religious sentiments.

The Nazis' totalitarian approach extended to suppressing alternative architectural movements like the Bauhaus, which they shut down for its emphasis on functionalism and simplicity. They also condemned modern art as "degenerate," leading to the persecution of many artists and architects.

The construction of these monumental structures often relied on forced labor from concentration camp prisoners, further highlighting the regime's exploitative and oppressive nature. The use of forced labor allowed the Nazis to achieve both political and economic goals while creating buildings that served their ideological agenda. Even the design of the Volkswagen Beetle, commissioned by Hitler as a "people's car," was influenced by the regime's desire for functionality and accessibility.

Cinema

Propaganda films played a crucial role in the Nazi regime's aestheticization of politics. These films, produced under the control of Propaganda Minister Joseph Goebbels, aimed to bolster public support for the war effort and disseminate Nazi ideology. Newsreels, documentaries like "Blitzkrieg im Westen," and feature films such as "Feuertaufe" and "Sieg im Westen" showcased German military victories and promoted a sense of national pride and unity. These films often employed dramatic cinematography, stirring music, and carefully crafted narratives to manipulate public opinion and create a sense of inevitability about German dominance.

Uniforms and Hugo Boss

Why Were The Nazis So Stylish? -- Secret History Revealed

YouTube video by Real Men Real Style.

Hugo Boss, the founder of the renowned fashion brand, has a controversial history intertwined with the Nazi regime. While he began his career as a tailor and entrepreneur, the economic hardships of the 1930s led him to join the Nazi Party in 1931. This decision would have profound consequences for his company and its legacy. Shortly after joining the party, Boss secured lucrative contracts to produce uniforms for various Nazi organizations, including the SA, SS, and Hitler Youth. By 1938, the company's primary focus was manufacturing uniforms for the Wehrmacht and later the Waffen-SS. The iconic black uniforms of the SS, though not designed by Boss, became a chilling symbol of the regime's brutality and oppression.

During World War II, Hugo Boss employed forced laborers, predominantly women and French prisoners of war, in its factories. These workers endured harsh conditions, including inadequate food and hygiene, and were subjected to threats and abuse. While the company's wartime production undoubtedly benefited from the regime's policies, historical research suggests that Boss's involvement with the Nazi Party was not solely motivated by economic opportunism. Evidence indicates that he was a "convinced Nazi" and an admirer of Adolf Hitler.

After the war, Boss faced denazification proceedings and was initially labeled an "activist, supporter and beneficiary" of National Socialism (Nazism). He was fined, stripped of his voting rights, and banned from running a business. However, this ruling was later softened, and he was reclassified as a "follower" with a less severe punishment.

The company's Nazi past remained largely unknown until the late 1990s when investigations revealed the extent of Boss's involvement with the regime. This revelation led to legal action from Holocaust survivors and a public apology from the company. Today, Hugo Boss acknowledges its dark history and expresses regret for the suffering caused by its founder's actions.

The Hugo Boss story is a stark example of how even seemingly apolitical entities like fashion companies can become entangled with oppressive regimes. It serves as a cautionary tale, reminding us to remain vigilant about the potential for businesses to be complicit in human rights abuses, and the importance of holding them accountable for their actions, even decades later.

The "Roman" and Nazi Salutes

Oath of the Horatii, by Jacques-Louis David, 1784, oil on canvas.

The Roman salute, with its arm extended forward or upward, is a gesture closely associated with fascism and totalitarian regimes. Ironically, despite its name and popular association with ancient Rome, the salute has no basis in historical Roman practice. Instead, it originates from French painter Jacques-Louis David's 1784 neoclassical painting, "The Oath of the Horatii." This painting, depicting a scene from Roman legend, sparked a wave of neoclassicism that romanticized ancient Rome and its republic. The gesture from the painting, though historically inaccurate, became associated with Roman ideals of strength, unity, and loyalty. This association was further reinforced through its use in other neoclassical artworks, films, and popular culture throughout the 19th and early 20th centuries.

Fascist regimes, particularly in Italy, Germany, and Spain, were eager to capitalize on this romanticized image of ancient Rome. By adopting the "Roman" salute, they sought to create a sense of historical continuity and legitimacy, linking their movements to the perceived grandeur and power of the Roman Empire. This appropriation of Roman imagery served to aestheticize their ideologies, imbuing them with a sense of historical destiny and national pride. The Italian Fascist regime officially adopted the salute in 1923, and the Nazi Party followed suit in 1926. The salute became a symbol of obedience to the leader and glorification of the nation, used in mass rallies and official ceremonies to create a sense of unity and conformity.

After World War II, the salute became associated with the atrocities committed by fascist regimes. Its use is now criminalized in several countries, including Germany and Austria, due to its connection to Nazi ideology and hate speech. The "Roman" salute serves as an example of how historical narratives and visual symbols can be manipulated and aestheticized to serve political agendas.

Nationalism, Politics, and Identity

Flags as Symbols

"Army of Man" by Big-Caterpillar-4270 on r/vexillology (Reddit). This artwork depicts a multitude of flags, representing various nations, regions, organizations, ideologies, and identities.

Flags, while serving a variety of practical and symbolic purposes, can also be intertwined with the aestheticization of politics. The visual appeal of flags stems from their recognizable designs, color combinations, and associations with national identity and cultural heritage. They can be harnessed to evoke emotional responses and shape public perception. As potent symbols that have played a major role in human societies for centuries, they represent identity and convey messages of belonging, ideology, and aspiration. They are frequently used to promote nationalism and patriotism. The display of national flags at rallies, sporting events, and public spaces can evoke strong feelings of national pride and unity, potentially overshadowing critical participation in political issues. Similarly, flags can represent political movements and ideologies, visually conveying their values and goals to foster a sense of collective identity. However, this can also be used to manipulate emotions and avoid respectful debates.

The earliest flags were likely used in ancient civilizations like Ancient Egypt and Assyria for military and ceremonial purposes. These early flags often featured symbols representing the ruling power or deity. With the rise of nation-states and nationalism in the modern era, flags became increasingly important symbols of national identity. National flags often incorporate colors, symbols, and designs that represent the history, culture, and values of a particular nation. They are displayed in a variety of contexts, from government buildings and sporting events to schools and homes, reinforcing a sense of national belonging and pride.

One of the most popular uses of a flag is to symbolize a nation or country. Some national flags have been particularly inspirational to other nations, countries, or subnational entities in the design of their own flags. Some prominent examples include:

• The Danish national flag (Dannebrog), attested in 1478, is the oldest national flag still in use. It inspired the cross design of the other Nordic countries: Norway, Sweden, Iceland, Finland, and regional Scandinavian flags for the Faroe Islands, Åland, Scania and Bornholm, as well as flags for the non-Scandinavian Shetland and Orkney.
• The flag of the Netherlands is the oldest tricolour. Its design of red, white, and blue horizontal stripes first appeared around 1572. It is said to have inspired many flags, most notably those of Russia, New York City, and South Africa.
• The national flag of France, designed in 1794, has been adopted by other nations as a symbol of revolution and republicanism. Examples include Italy, Belgium, Ireland, Romania, and Mexico.
• The Union Flag (Union Jack) of the United Kingdom is one of the most commonly used flags in the world. Many former British colonies have retained the design to acknowledge their cultural history. Examples include Australia, Fiji, New Zealand, Tuvalu, and the Canadian provinces of Manitoba, Ontario, and British Columbia.
• The flag of the United States, with its stars and stripes, has been imitated by some nations to symbolize their connection to the United States or the American Revolution. Examples include Liberia, Chile, Taiwan (ROC), and the French region of Brittany.
• The flag of Ethiopia's colors inspired the colors of many African national flags. Ethiopia was seen as a model by emerging African states in the mid-20th century.
• The flag of Turkey, with its crescent and star, has been an inspiration for the flag designs of many other Muslim nations.
• The Soviet flag, with its golden hammer and sickle on a red field, was an inspiration to flags of other communist states.

England fans show their support with a sea of different team flags.

The aesthetic qualities of flags contribute to their symbolic power. The colors, designs, and flowing movement of flags can evoke strong emotions and create a sense of grandeur and authority. In popular culture, flags are often used to represent national pride, sporting prowess, and even individual identity. For example, in racing video games like the Mario Kart series, players are often portrayed with flags that represent their country, adding a visual element of competition and national identity to the game. In sporting events, flags of all types, whether national or of a particular team, are frequently carried by fans.

Authoritarian regimes and extremist groups often engage in the appropriation of flags and national symbols, utilizing them as powerful tools for propaganda and manipulation. By co-opting these symbols and imbuing them with their own ideology, these groups aim to legitimize their authority, foster a sense of nationalism and unity amongst their followers, and suppress dissent. This tactic can be seen in various historical and contemporary contexts, where flags and national symbols are strategically deployed in rallies, marches, and public displays to project an image of strength and popular support, while simultaneously silencing opposing voices and discouraging critical discourse.

Illustration by Kristin Millie Salazar (June 17, 2021) critiquing the commercialization of Pride and the disconnect between mass-produced merchandise and genuine support for the LGBTQ+ community.

In the consumerist culture of capitalism, flags can also be commodified and used to sell products, trivializing their symbolic meaning. This can be seen in the commercialization of various flags, including LGBTQ+ pride flags and flags representing nations or causes in conflict, such as Ukraine and Palestine. These flags, often mass-produced in countries like China, become commodities detached from their original political and social significance. This commercialization can lead to a disconnect between the symbolic meaning of the flag and its use as a consumer product. For example, rainbow flags, originally symbols of LGBTQ+ pride and activism, are now widely available as consumer goods, which brings into question whether their political significance is diminished when they are mass-produced and sold for profit.

The irony of this phenomenon is apparent when considering that many of these flags, intended to symbolize resistance, rebellion, or social progress, are mass-produced in China, a country with a controversial record on human rights and political freedoms. This disconnect between the symbolic meaning of the flags and their production context raises questions about authenticity and ethical consumption. For example, while protesters in Hong Kong have sometimes utilized flags, they often rely on a wider range of symbols and slogans that directly address their concerns and circumvent the restrictions imposed by the authorities. The production and display of flags explicitly representing Hong Kong independence or autonomy are heavily restricted, leading protesters to adopt other forms of visual communication, such as protest art, banners with specific demands, and online activism. Similarly, in East Turkestan (Uyghur region), where the expression of Uyghur identity is severely curtailed, the open display of flags representing the region or its people is rare due to the risk of severe repercussions. This demonstrates how the availability and use of flags as symbols of resistance are often intertwined with the political context and the level of freedom of expression allowed.

Conversely, flags can also be used to subvert and challenge dominant narratives, as seen in their appropriation and recontextualization in art and activism. Artists and activists can reclaim and reinterpret flags, imbuing them with new meanings and using them as tools for social commentary and political resistance. For example, the 2025 "take back the flag" movement in the United States aims to reappropriate the American flag from conservatives. Similar problems can be seen in other countries such as Spain and Germany, where the national flag, despite its intended representation of the entire nation, becomes associated with right-wing parties, potentially alienating and marginalizing segments of the population who do not identify with those ideologies.

While national flags are the most widely recognized, many other types of flags represent various identities and communities. These include:

• Regional flags: Representing specific regions within a country.
• City flags: Representing individual cities or municipalities.
• Pride flags: Representing LGBTQ+ communities and allies.
• Political flags: Representing political parties or movements.
• Sports flags: Representing sports teams and their fans.
• War flags: Used by militaries during conflict.
• International flags: Representing international organizations.
• Maritime flags: Used for communication at sea.
• Religious flags: Representing religious beliefs and communities.
• Personal flags: Representing individuals, families, or organizations.
• Vehicle flags: Displayed on vehicles.
• Swimming flags: Indicating safe swimming areas.
• Railway flags: Used for signaling on railways.
• Royal standards: Representing monarchs and royal families.

As seen with these examples, each flag has its own meaning and purpose, and are one of the many ways people express their identities and create a sense of belonging. Flags can both unite and divide, inspire and intimidate, and convey a wide range of emotions and messages. The fact that flags still matter so much to so many people shows just how powerful symbols can be in shaping our sense of self and our place in the world.

The aestheticization of politics through flags can be subtle or overt, involving the manipulation of colors and designs to evoke specific emotions or using flags explicitly in propaganda and campaigns. Understanding how flags can be aestheticized allows for a more critical understanding of visual information and its potential for manipulation.

National Myths and Personifications

A bust of Marianne, the national personification of France, sculpted by Théodore Doriot. This character embodies the values of the French Republic, such as liberty, equality, and fraternity. Marianne's Phrygian cap, a symbol of freedom and revolution, and her serene yet determined expression, convey the spirit of the French nation. This particular bust is on display at the Sénat (Senate) in Paris.

National myths and personifications play a significant role in the aestheticization of politics by shaping national identity and creating powerful symbols that evoke emotional responses. These myths often combine historical facts with fictional narratives to construct idealized versions of the past and promote a sense of national unity and purpose.

National personifications, such as Britannia, Germania, Uncle Sam, and Marianne, are anthropomorphic representations of nations or their people. These figures often embody national values and aspirations, serving as visual shorthand for complex ideas and emotions. The use of such personifications can be traced back to ancient Greece and Rome, where deities and allegorical figures were used to represent the power and virtues of the state.

Notable examples of national myths and personifications include:

• Britannia: The female personification of Britain, often depicted as a warrior queen or a goddess of liberty, symbolizing the nation's strength, resilience, and imperial power.
• Germania: The female personification of Germany, often depicted as a strong and noble woman, symbolizing the nation's unity, cultural heritage, and military prowess.
• Marianne: The female personification of France (or more specifically, the French Republic), often depicted as a revolutionary figure or a goddess of liberty, symbolizing the nation's republican values, revolutionary spirit, and commitment to freedom and equality. However, it's important to remember that the historical construction of French nationalism has not always been inclusive, and certain linguistic and cultural groups within France have faced marginalization and pressure to assimilate.
• Uncle Sam: The male personification of the United States, often depicted as a stern and elderly man, symbolizing the nation's authority, patriotism, and paternalistic role.

The Romantic movement of the 19th century played a crucial role in the development and popularization of national myths and personifications. Romantic artists and writers often drew inspiration from folklore, legends, and historical events to create idealized portrayals of their nations and their people. These Romantic narratives often emphasized themes of heroism, struggle, and sacrifice, creating a powerful emotional connection between citizens and their nation.

National myths can take various forms, including founding myths, epic poems, and national anthems. They often serve to legitimize political power, promote national unity, and inspire patriotism. However, national myths can also be used to exclude certain groups, justify discrimination, and promote conflict.

Slogans

Political slogans play a key role in the aestheticization of politics with their concise and memorable phrasing. Slogans are powerful tools for conveying political messages, mobilizing support, and shaping public perception. By quickly conveying complex ideas and emotions in a succinct and easily repeatable format, slogans can effectively bypass critical thinking and appeal directly to the emotions and instincts of the audience.

Notable examples:

• "Liberté, égalité, fraternité" (Liberty, equality, fraternity): This slogan, associated with the French Revolution, represents the core values of the French Republic and has been adopted by various political movements and revolutions around the world.
• "Workers of the world, unite!": This slogan, from the Communist Manifesto, calls for the unity of the working class in their struggle against capitalism and has been a rallying cry for communist and socialist movements worldwide.
• "No taxation without representation": This slogan, used by American colonists in the 1700s, protested against British taxation policies and became a rallying cry for the American Revolution.
• "Give me liberty, or give me death!": This famous quote from Patrick Henry's speech in 1775 urged American colonists to fight for independence from British rule.
• "A government of the people, by the people, for the people": This phrase from Abraham Lincoln's Gettysburg Address in 1863 encapsulates the ideal of democratic governance.
• "Yes We Can": This slogan, used by Barack Obama in his 2008 presidential campaign, conveyed a message of hope and possibility, inspiring many voters and becoming a symbol of his historic candidacy.
• "Make America Great Again" (MAGA): This slogan, used by Donald Trump and his supporters, evokes a sense of nostalgia and promised a return to a perceived past "greatness," which resonates with many voters who felt disillusioned with the current political climate.

Despite their appeal, the messages slogans convey should be critically examined and recognize their potential to manipulate emotions and oversimplify social problems.

Political Colors

Political colors are colors used to represent a political ideology, movement, or party, either officially or unofficially. They are a visual shorthand for complex political ideas and can be used to evoke emotional responses and create a sense of identity. The use of colors in politics is influenced by both color symbolism and political symbolism.

The association of certain colors with specific political ideologies varies across countries, regions, and historical periods. However, some general trends can be observed:

• Red: Often associated with left-wing ideologies, such as socialism and communism. This association can be traced back to the French Revolution and the use of the red flag as a symbol of revolution. This is reflected in slogans and phrases like "better dead than red" or the "red scare."
• Blue: Often associated with right-wing ideologies, such as conservatism and liberalism. This association is particularly strong in the United States, where the Republican Party is often referred to as the "red" party and the Democratic Party as the "blue" party.
• Green: Associated with environmentalism and Green politics. This association is relatively recent and reflects the growing concern for environmental issues.
• Yellow: Often associated with liberalism, neoliberalism, and libertarianism. This association is less consistent across countries and can vary depending on the specific context.
• Purple: Often associated with monarchism. One notable example is the flag of the Second Spanish Republic, which features a purple line to symbolize its legacy (before its restoration in 1947).

The use of colors in politics can be a powerful tool for communication and mobilization. Politicians and political parties often use specific colors in their branding, campaign materials, and public appearances to create a sense of identity and appeal to specific demographics. The mass media has also played a role in standardizing the association of certain colors with specific political ideologies, further reinforcing these visual cues.

However, the use of colors in politics can also be controversial and subject to manipulation. The aestheticization of political messages through the use of colors can lead to a simplification of complex issues and an overreliance on emotional appeals. It is important to critically examine the use of colors in politics and recognize their potential to influence and manipulate public perception.

Cult of Personality

A common scene in North Korea: Citizens bowing before statues of deceased leaders Kim Il Sung and Kim Jong Il. Photographed in 2012.

The concept of the cult of personality, or cult of the leader, involves the deliberate creation of an idealized, heroic image of a leader, often through flattery, praise, and various manipulative techniques. These techniques include mass media manipulation, propaganda dissemination, staged spectacles, artistic manipulation, and government-organized rallies.

Cults of personality are frequently associated with totalitarian and authoritarian regimes but can also appear in other forms of government. Historically, rulers were often seen as divinely appointed or possessing superhuman qualities, notably in absolute monarchies. While this aura diminished with the rise of democratic ideals and critical thinking, the advent of mass media in the 20th century allowed for the projection of powerful leader images on a massive scale, leading to the development of some of history's most prominent personality cults. The internet and social media have further amplified this phenomenon in the 21st century.

The term "cult of personality" emerged in the 19th century, initially without political connotations. It later became associated with political leaders. Scholars have identified several characteristics of modern personality cults, including their secular nature, focus on male leaders, targeting of the entire population, reliance on mass media, and suppression of rival cults. The manipulation of public image, often through media exposure, plays a crucial role in creating this idealized perception. The media's role in reflecting or creating these cults is debated, but its contribution is undeniable. Leaders like Mussolini and Stalin pioneered the use of propaganda to establish themselves as cult figures.

The Stalin cult, for example, involved deliberate distortions and falsehoods, with controlled access to information and manipulation of historical records. In Latin America, the "cult of the leader" is often linked to the concept of the caudillo, a powerful, often masculine, leader who uses personality cults to enhance their authority. These cults serve various purposes, including legitimizing rule, consolidating power, and mobilizing populations. They often rely on emotional appeals and carefully crafted imagery to create a sense of awe and devotion towards the leader.

Weaponization of Nostalgia and Emotion

Under Construction

Political Ideologies and Aesthetics

"Che Chic" Trend

See also: Communist Chic

A shirt of Che Guevara's face satirizing the "Che Chic" trend

Che Guevara is another compelling case study. He was a revolutionary icon who challenged capitalist systems and promoted anti-establishment ideals. However, he also understood the power of image and actively cultivated his own persona through photography. This created a lasting visual legacy that has become synonymous with revolution and social change, particularly through the iconic "Guerrillero Heroico" photograph taken by Alberto Korda.

This image has been widely reproduced and commodified, appearing on a vast array of merchandise and fashion items. This phenomenon, sometimes dubbed "Che Chic," demonstrates how the aestheticization of politics can lead to the commercialization of revolutionary figures and ideals. While some may wear Che's image as a statement of solidarity with his political beliefs, many others may be unaware of his historical significance or even confuse him with a pop culture figure.

The widespread use of Che's image, facilitated by its public domain status, shows the potential for the aestheticization of politics to detach a figure from their original context and transform them into a commercialized icon, potentially diluting the original political message and reducing it to a mere aesthetic statement.

Mexican Muralism

Main article: Mexican Muralism

Diego Rivera's mural at the Palacio Nacional in Mexico City. It depicts the exploitation of Mexico by Spanish conquistadores, influencing collective memory.

Mexican Muralism serves as a prime example of the aestheticization of politics. It holds significant historical importance in shaping contemporary Mexican national identity. In the 1920s, José Vasconcelos, then Secretary of Education, initiated a program to bring culture and education to a population struggling with poverty and lack of access to education. This program included the creation of large-scale murals on public buildings to educate and inspire the masses.

The murals often depicted a fusion of Greco-Roman and pre-Hispanic cultures, symbolizing the birth of a new, mestizo Mexican identity. Vasconcelos believed that by embracing its cultural heritage, Mexico could achieve redemption and unity. This notion of a shared cultural identity fostered a sense of national pride and belonging.

Vaporwave, Synthwave, and Propaganda

Main article: Politicalwave

Vaporwave is a microgenre and aesthetic that emerged in the early 2010s, characterized by its nostalgic and surreal appropriation of 1980s and 1990s imagery, combined with slowed-down and manipulated music samples. While initially associated with a critique of consumerism and late-stage capitalism, Vaporwave's ambiguous nature has allowed for its appropriation by various political ideologies, including the alt-right.

This image, depicting a traditional family and the slogan "Embrace Your Race," exemplifies the Fashwave aesthetic. It combines retrofuturistic visuals with white supremacist ideology, attempting to appeal to a younger audience through familiar online aesthetics while promoting a dangerous and exclusionary message.

Politicalwave is a family of aesthetics that takes the visual elements of the latter two genres and imbues them with explicit political messaging. These aesthetics often serve as a form of online propaganda, promoting a wide range of ideologies, from fascism and neo-Nazism ("Fashwave") to communism and socialism ("Laborwave") and even more recent movements like Brexit ("Faragewave").

Within this umbrella, the most controversial one is Fashwave, an aesthetic that appropriates the aesthetics of Synthwave to promote neo-Nazi and white supremacist ideologies. It emerged in the mid-to-late 2010s, gaining some traction within online far-right communities, but has since declined in popularity. Fashwave music typically uses 80s-inspired synthesizers and drum machines, often incorporating imagery of fascist or neo-fascist figures, hate symbols, and slogans. It promotes themes of racial purity, nationalism, and authoritarianism, often glorifying historical fascist regimes. In 2016, a Buzzfeed article exposed Fashwave's attempts to infiltrate the Synthwave and Vaporwave communities, leading to backlash and rejection from the broader music scene.

Critics condemn Fashwave for its overt promotion of hate speech and extremist ideologies. Its attempts to appeal to a younger audience through familiar retro aesthetics have also been criticized. The movement has ever since declined in recent years due to bans from streaming platforms and social media sites, accusations of plagiarism, and internal conflicts. Many Fashwave artists remain obscure, with limited followings on platforms like SoundCloud and YouTube. Despite its decline, the Fashwave aesthetic has evolved and found new avenues for dissemination. In 2024, anti-immigration slogans and imagery associated with the "Hyperborean" aesthetic, a directly related online trend, became popular on TikTok, demonstrating the persistence of these extremist ideologies and aesthetics in the digital age.

"Save Europe" Trend

Main article: Hyperborean

This image of Arno Breker's "Bereitschaft" statue has become a symbol of the "Save Europe" aesthetic, appearing in videos and memes promoting far-right and anti-immigration ideologies. The statue, originally created during the Nazi era, depicts a fit male figure, embodying the idealized Aryan physique. Its appropriation highlights how extremist movements aestheticize and co-opt historical symbols.

The "Save Europe" trend is an online movement characterized by its appropriation of popular music and internet aesthetics to promote far-right, anti-immigrant, and white supremacist ideologies. It gained significant popularity on platforms like TikTok and YouTube in 2024, raising concerns about the spread of extremism and hate speech online. This trend provides a contemporary example of the aestheticization of politics, where extremist ideologies are packaged in a visually appealing and culturally relevant format to attract and indoctrinate a younger audience.

The trend's origins can be traced back to online communities like 4chan and other imageboards, where the alt-right has established a strong presence. These communities often utilize irony and humor to mask their extremist views and attract new followers. The "Save Europe" trend builds on this strategy by appropriating popular culture and internet aesthetics to create a sense of normalcy and relatability around extremist ideologies.

This trend frequently employs dog whistles and coded language to circumvent platform moderation and appeal to a wider audience. Anti-immigration slogans like "Save Europe" and "gnome hunting" are often used, along with more subtle references and inside jokes that resonate with those familiar with far-right ideology. This use of coded language allows the movement to spread its message while maintaining a veneer of deniability and avoiding censorship. TikTok and other online platforms have faced criticism for failing to moderate such content.

In May 2024, a viral video showed people outside a bar in Sylt, Germany, chanting "Foreigners out, Germany for the Germans!" to the tune of Gigi D'Agostino's "L'Amour Toujours." This incident, which reportedly also involved a Nazi salute and a racist assault, led to the song being banned from Oktoberfest and Austrian football stadiums. This incident shows the real-world consequences of the aestheticization of extremist ideologies, as online trends can spill over into offline spaces and incite violence.

This incident is part of a broader trend where far-right trolls co-opt popular dance songs, often speeding them up to a nightcore or slowed-and-reverb style, and use them in videos and memes promoting racist and xenophobic messages. These messages often advocate for a "white Europe" and demonize immigrants and minority groups. Popular platforms like Spotify and YouTube host numerous "Save Europe"-themed playlists and channels with millions of views, where users openly express racist and anti-Semitic views. This appropriation of popular music and internet aesthetics is a deliberate strategy to make extremist ideologies more palatable and accessible to a younger audience.

Vsevolod Ivanov's painting, "The Grandchildren of Perun: The Exodus of the Hyperboreans," has become a popular visual within the "Save Europe" movement. The painting depicts a group of blonde-haired, blue-eyed people migrating through a snowy landscape, carrying a glowing orb. The painting's appropriation by the "Save Europe" movement shows how art can be co-opted and recontextualized to serve political agendas, even those rooted in extremist ideologies.

The movement also appropriates esoteric imagery, such as allusions to Agartha and Hyperborea, and propagandistic imagery like the Nazi-era statue "Bereitschaft" by Arno Breker. The choice of music is often distorted and overheated, reflecting the alt-right's obsession with intensity and aggression; these aesthetic choices are intended to create a sense of excitement and belonging, drawing users into the movement's ideology.

The "Save Europe" trend has been widely criticized for its promotion of hate speech and extremist ideologies. The appropriation of popular music and internet aesthetics to promote such harmful messages raises concerns about the normalization of extremism and the potential for online radicalization. This aestheticization of extremism is particularly dangerous because it can desensitize individuals to violence and hatred, making it easier to recruit them into extremist movements.

It's ironic that this movement obsessed with "saving Europe," uses the imagery of a regime that nearly destroyed it. The Nazis, with their genocidal policies and brutal wars, left Europe in ruins and caused the deaths of millions. This appropriation of Nazi symbols is a disregard for history and a willingness to exploit powerful imagery for a hateful agenda.

Pastel QAnon

See also: Positivity Kawaii

A "Pastel QAnon" image, co-opting the visual language of wellness and lifestyle influencers to promote conspiracy theories related to Jeffrey Epstein's death. Such imagery is often used to draw in a wider audience and normalize extremist beliefs.

This Instagram post, with its soft aesthetic and hashtags referencing "pedogate," illustrates how Pastel QAnon utilizes "innocent" imagery and language to draw women into the conspiracy theory.

Pastel QAnon is a recent phenomenon present on social media sites such as Instagram, Telegram, Facebook, and YouTube that exemplifies the aestheticization of politics in the digital age, specifically targeting women through "soft" and feminine aesthetics. It uses pastel colors, inspirational imagery, quotes, and emotive language to draw women into the QAnon conspiracy theory. The term was coined by Marc-André Argentino, a researcher at Concordia University in Canada.

QAnon itself is a baseless far-right conspiracy theory that alleges a "deep state" cabal of Satan-worshipping pedophiles is plotting against various political figures, including Donald Trump. While QAnon originated in male-dominated online spaces, women now represent a significant portion of its supporters. Pastel QAnon specifically targets this demographic by exploiting maternal anxieties and fears, particularly surrounding child safety and exploitation.

This trend utilizes "gateway messaging," employing seemingly innocuous content about child protection and wellness to subtly introduce QAnon beliefs. These messages often avoid explicit QAnon references to evade social media bans and maintain plausible deniability. Pastel QAnon co-opts the aesthetics and language of wellness, New Age, and multi-level marketing communities, creating a sense of familiarity and trust. By appropriating the visual language of these communities, it normalizes its ideology and makes it more palatable for its target audience.

Pastel QAnon sits at the intersection of aesthetics, gender, and online conspiracy theories. It shows how the aestheticization of politics can manipulate emotions, exploit vulnerabilities, and spread disinformation, especially among those who feel marginalized by mainstream institutions.

"Hello Kitty Says ACAB" Trend

Main article: 2020 TikTok (Discourse Community section)

This meme, featuring Hello Kitty alongside the slogan "Hello Kitty says: cops ain't cute," exemplifies the trend of using "cute" aesthetics to convey anti-establishment messages. The appropriation of a commercial character like Hello Kitty, a multi-billion dollar intellectual property, for anti-capitalist messaging shows the potential for such trends to be co-opted and commodified by the very systems they critique.

The "Hello Kitty Says ACAB" (All Cops Are Bastards) trend that went viral on social media in 2020 is a recent example of the aestheticization of politics in the digital age. It involves using cute and innocent imagery, like Hello Kitty or other popular cartoon and anime characters such as Hatsune Miku, Sonic the Hedgehog, or Ibuki Mioda from the Danganronpa series, to convey politically charged slogans and messages. While seemingly a radical critique of the police and the prison industrial complex, this trend raises serious concerns about the sanitization of violence, performative activism, and the commodification of radical aesthetics.

Journalist Rema Bhat of the 34th Street explained her own definition of the aestheticization of politics in a modern-day context: "In the age of social media and digital activism, aestheticizing politics is the process of framing violence as cute, beautiful, aesthetic, or glamorous in the forms of memes, images, or infographics for the sake of presentation on the internet. This looks like thousands of people reposting 80s groovy font infographics about the Yemen crisis with the broken heart emojis on their Instagram story. It also looks like memes of Sonic exclaiming 'Trans Rights!'. These memes are readily consumable and appealing because of that juxtaposition: adorable characters with serious declarations! But that appeal is the issue."

This "Sonic says Trans Rights" meme exemplifies the use of pop culture characters to convey political messages. While it is supportive of the cause, this approach can trivialize complex issues and promote performative activism. It also raises questions about the effectiveness of such tactics in promoting meaningful social and political change.

By juxtaposing cute characters with serious political declarations, these memes create a sense of dissonance that can be both appealing and disarming. However, this aestheticization of political messages can lead to a trivialization of complex issues and a detachment from the realities of violence and oppression.

The use of "Hello Kitty Says ACAB" and similar memes can encourage performative activism, where individuals focus on expressing their political views online without engaging in meaningful action or critical discourse. This type of activism can be counterproductive, providing a false sense of accomplishment and potentially hindering genuine efforts to address social and political issues. Furthermore, the aestheticization of radical political identities can lead to their commodification and commercialization. The appropriation of anti-establishment slogans and imagery by mainstream brands and corporations can dilute their meaning and subvert their original intent.

Aestheticization of Religion

While religion and politics are not always synonymous, they are certainly intertwined. Religion shares a capacity for aestheticization, employing sensory experiences and artistic expression to cultivate faith, devotion, and a sense of the sacred. This religious institutions and practices often utilize architecture, music, visual arts, and ritual to create powerful emotional and spiritual experiences for adherents. This practice can be traced back centuries, with numerous historical examples demonstrating the powerful connection between aesthetics and religious belief.

In Christianity, grand cathedrals, hymns, intricate iconography, lit candles, and solemn ceremonies all contribute to a heightened sense of the divine. This aesthetic dimension of religion is not merely decorative; it plays an integral role in shaping religious experience and reinforcing belief. Much like political movements, religious organizations understand the power of symbolism and emotional appeals. They use aesthetics to create a sense of community, inspire awe, and communicate complex theological concepts.

The Albi Cathedral in Occitania, France (13th-14th centuries). Its design incorporates elements of austerity and simplicity, reflecting an attempt by the Catholic Church to appeal to the aesthetic preferences of the Cathars following the Albigensian Crusade.

For example, the Southern French Gothic style, prevalent in the Languedoc region of France, shows how aesthetic preferences could be strategically employed. Following the brutal Albigensian Crusade (1209–1229), which aimed to eliminate the Cathar religious movement, the Catholic Church appropriated certain aesthetic elements favored by the Cathars, such as austerity, incorporating them into their own architecture and art. This calculated move aimed to convert the remaining Cathar population by subtly assimilating their cultural tastes, demonstrating how aesthetics could be weaponized in the service of religious conversion.

However, the aestheticization of religion can also be problematic. It can lead to the veneration of objects or images, potentially obscuring the underlying spiritual principles. Moreover, it can be exploited for manipulative purposes, creating a superficial religiosity divorced from genuine faith. Religion and politics are often intertwined. Religious imagery and rhetoric can be appropriated for political purposes, and political ideologies can take on a quasi-religious fervor. Understanding the aestheticization of religion provides insight into how symbols, emotions, and sensory experiences can be mobilized to influence beliefs and behaviors, whether in the religious or political sphere.

"TradCath" Trend

See also: New Spanish Catholic Girl

This image of Dasha Nekrasova wearing a wedding veil and holding a French monarchist flag with the Sacré-Cœur and fleur-de-lis symbols and the "Espoir et salut de la France" slogan exemplifies the trend of young people aestheticizing Catholicism and monarchist ideologies. The image juxtaposes religious and political symbolism, showing the interconnectedness of these fields.

In recent years, a growing number of young people, particularly in the United States, have developed an interest in traditional Catholicism, often referred to as "TradCath." This trend involves an aestheticization of traditional Catholic practices, rituals, and aesthetics, even among those who may not identify as Catholic, do not have a Catholic background, or fully embrace the faith's doctrines. These portrayals are often divorced from the reality of Catholicism, becoming associated with the Coquette aesthetic. Dasha Nekrasova (pictured), one of the hosts of the Red Scare podcast, has also been associated with this trend.

This trend is attributed to disillusionment with secularism, the aesthetic appeal of traditional Catholicism, its countercultural appeal, and a search for meaning and belonging. It has manifested in increased attendance at Latin Mass, interest in Catholic art and architecture, adoption of traditional Catholic practices, and the formation of online communities.

The trend has also been met with criticism, with some accusing participants of reducing the faith to mere aesthetics or engaging in performative piety. Others have expressed concern about the potential for this trend to be co-opted by far-right or traditionalist groups within the Church.

The Catholic Church and Anime

Luce, Vatican's mascot for Jubilee 2025, designed by Tokidoki.

Luce, the official mascot of the Catholic Church's 2025 Jubilee, is another notable example of the aestheticization of religion in the digital age. Designed by Simone Legno, the founder of the popular brand Tokidoki, Luce is a blue-haired, anime-inspired character intended to represent a Catholic pilgrim and appeal to younger generations.

Luce's design incorporates various symbolic elements, such as a yellow raincoat referencing the Vatican flag, a pilgrim's staff, and mud-stained boots, alluding to the challenges and rewards of the spiritual journey. Her eyes feature scallop shell highlights, a traditional symbol of the Camino de Santiago pilgrimage, and her overall appearance has been compared to popular anime characters like Ai Ohto from Wonder Egg Priority and Rei Ayanami from Neon Genesis Evangelion.

The Catholic Church's decision to adopt an anime-inspired mascot for its Jubilee celebration reflects a growing trend of religious institutions utilizing popular culture and visual aesthetics such as Superflat Pop to engage with younger audiences. Archbishop Rino Fisichella, who unveiled Luce in October 2024, stated that she was inspired by the Church's desire to "live even within the pop culture so beloved by our youth."

Luce's reception has been mixed, with some praising her modern design and appeal to younger generations, while others criticize her as "too modern and silly" to represent the Catholic faith. Some have even drawn comparisons to "Buddy Christ," a satirical cartoon character from the 1999 film Dogma, suggesting that the Church's adoption of an anime mascot is a desperate attempt to stay relevant in a secularizing world.

Anime and Politics

Post-War Japan, Kawaii Culture, and Anime

See also: Kawaii, Moe, Superflat, and Superflat Pop

This assortment of Japanese snacks, with their vibrant colors and playful packaging featuring characters like Pikachu from Pokémon, exemplifies the kawaii aesthetic that has become synonymous with Japanese popular culture. This aesthetic has played a key role in shaping Japan's global image and promoting its cultural influence with its emphasis on cuteness and childlike appeal.

In the aftermath of World War II, Japanese society underwent a remarkable transformation, shifting its global image from that of a militaristic and imperial power to one associated with cuteness, technological innovation, and cultural influence. This transformation was largely achieved through the strategic aestheticization of Japanese culture, particularly through the rise of kawaii culture, the international popularity of anime, and its snacks and sweets.

Kawaii, a concept similar to the Western equivalent of cuteness, emerged as a Japanese cultural phenomenon in the 1970s, characterized by its emphasis on childlike aesthetics, bright colors, and adorable characters. This aesthetic, embodied by iconic figures like Hello Kitty, quickly permeated Japanese society, influencing fashion, design, and popular culture.

The rise of kawaii coincided with the growing popularity of anime, a style of animation originating in Japan, known for its diverse genres, distinctive visual style, and complex narratives. Anime's global reach further contributed to the aestheticization of Japanese culture, showcasing a softer and more playful side of Japan to the world.

This display of Hello Kitty merchandise exemplifies that the character that has become a global consumer phenomenon. The character's simple design, childlike features, and association with cuteness have made her a popular icon, particularly among younger generations.

Capitalizing on the success of Hello Kitty and other kawaii icons, many Japanese companies began licensing agreements with various companies, both domestically and internationally, further spreading the reach of kawaii globally. These agreements not only fortified the popularity of these characters but also pushed for the increased export of Japanese media. Shows like Pokémon and Dragon Ball Z, which sported animation that was distinctly kawaii-oriented, were some of the first animes to be licensed and broadcast in America, with Pokémon specifically seeing immense success. This success led companies like Nintendo to further capitalize on the kawaii aesthetic, incorporating it into their products and licensing the use of other kawaii icons in their games.

Christine Yano, an anthropology professor at the University of Hawaii, notes how the saturation of Japanese media and products in America led to kawaii being perceived as "other" and, therefore, "rebellious" and "cool" within American society. This reinforced the positive perception of kawaii within Japan and built a new international perception of Japan as a reflection of kawaii culture. Japan's image became associated with the cute, youthful, and harmless narrative that kawaii embodied.

This strategic aestheticization of Japanese culture can be seen as a form of "soft power," where cultural influence is used to shape global perceptions and promote national interests. By emphasizing the cute and appealing aspects of Japanese culture, Japan was able to distance itself from its wartime past and create a new, more positive image on the world stage. The Japanese government directly benefits from the soft power of kawaii, incorporating kawaii elements into its own messaging and even appointing Hello Kitty as the official ambassador of tourism (Hello Kitty has also served as a UNICEF children's ambassador.).

This Australian WWII propaganda poster, "He's Coming South," depicts a Japanese soldier marching towards Australia. While considered alarmist at the time, it reflects the genuine fear of Japanese invasion felt by many Australians. Japan's aggressive wartime expansionism in the Pacific posed a real threat to Australia, and this poster serves as a historical document illustrating the anxieties and perceptions that shaped the wartime experience.

This aestheticization of Japanese culture also raises questions about historical memory and the potential for cultural influence to overshadow or even erase past wrongdoings. Japan's wartime atrocities, including its brutal occupation of many Asian and Pacific countries and its role in World War II, are often overlooked or downplayed in the global fascination with kawaii and anime.

During World War II, Japan, as a member of the Axis powers, engaged in aggressive expansionism and committed numerous atrocities. These included the invasion of China, the annexation of French Indochina, and the attack on Pearl Harbor. The Japanese military also committed war crimes such as the Nanjing Massacre, the use of sex slaves ("comfort women"), and biological and chemical warfare.

Despite these atrocities, Japan has largely escaped international condemnation for its wartime actions. This can be attributed, in part, to the successful aestheticization of Japanese culture in the postwar era. By emphasizing the cute and appealing aspects of Japanese culture, Japan has been able to create a new, more positive image on the world stage, potentially overshadowing its wartime past.

This phenomenon can be compared to Walter Benjamin's analysis of Mickey Mouse, where he argued that the seemingly innocuous and entertaining figure could serve as a form of "psychic vaccination" for the masses, distracting them from the anxieties and complexities of the real world. Similarly, the aestheticization of Japanese culture through kawaii and anime can be seen as a way to sanitize and depoliticize Japan's image, potentially hindering critical engagement with its history and contemporary political issues.

This artwork, featuring Takashi Murakami's signature smiling flower motif, exemplifies the Superflat movement's aesthetic. The bright colors, flat surfaces, and cartoon-like imagery draw inspiration from kawaii and anime, reflecting what Murakami saw as the "flattening" of Japanese culture in the postwar era.

The Japanese Superflat movement, founded by artist Takashi Murakami, provides a critical perspective on this aestheticization of Japanese culture. Murakami, influenced by his childhood experiences and a critical view of post-war Japan, developed the concept of "superflatness" to describe what he perceived as the increasing superficiality of Japanese culture. He saw this as a result of Western influence, commercialism, and the rise of kawaii and anime aesthetics, where depth and meaning were sacrificed for cuteness and mass appeal.

Murakami's Superflat art, characterized by bright colors, and flat, cartoon-like imagery, reflects this "flattening" of Japanese culture. While his work often incorporates social commentary and critique, its playful and visually appealing style can also be seen as contributing to the aestheticization of Japanese culture and its detachment from historical and political complexities.

Murakami's own artistic journey reflects this tension. In his early career, he struggled to gain recognition with his more traditional and critical artworks. It wasn't until he embraced the aesthetics of popular culture, creating characters like "Mr. DOB," that he achieved commercial success and critical acclaim. This shift shows the difficulties artists face when trying to address social and political issues while also dealing with the art market and the appeal of popular aesthetics.

Kawaii, anime, and Superflat art show how aesthetics, culture, and national identity are all intertwined. These cultural forms can be creative, entertaining, and even critical of society, but they can also be used to shape how the world sees Japan and to further its national interests. It's important to look at these with a critical eye, recognizing that they can both reveal and hide Japan's history and politics.

Moe Anthropomorphism

See also: Moe Anthropomorphism

This image of "Ebola-chan" with the text "Don't you want Ebola-chan in your country?" exemplifies the use of moe anthropomorphism to spread misinformation and harmful stereotypes. During the 2014 Ebola epidemic, this meme was spread on African social media platforms alongside racist messages, contributing to mistrust and hindering public health efforts. This exemplifies how the aestheticization of a serious issue like a deadly disease can be used to promote harmful agendas and manipulate public perception.

Moe anthropomorphism, an anime trope that involves creating cute and appealing human-like versions of animals, objects, or concepts, has been increasingly used in online political discourse, especially on imageboards. While innocuous at first glance, this trend has sparked debate regarding its potential for manipulation and the dissemination of harmful ideologies. The inherent cuteness and charm associated with moe aesthetics can be manipulated to disarm critical thinking and create an emotional connection with audiences, potentially leading to the normalization or even acceptance of harmful political messages. This tactic can be particularly effective in bypassing rational filters and appealing to emotions, potentially making individuals more susceptible to propaganda or extremist viewpoints.

One of the most controversial examples is "Ebola-chan," a moe anthropomorphization of the Ebola virus created on 4chan during the 2014 West African Ebola epidemic. This character was spread on African social media platforms alongside racist messages and misinformation about the disease. 4chan users exploited existing beliefs in voodoo and conspiracy theories to promote the idea that Ebola was a creation of the white race or even a CIA-engineered bioweapon. Ebola-chan was portrayed as a malevolent deity, with fabricated shrines and rituals further fueling these narratives. This campaign aimed to sow discord and distrust between communities and healthcare workers, potentially hindering efforts to contain the epidemic. Many Nigerian users became convinced that Americans and Europeans were conducting rituals to spread the disease, leading to heightened fear and paranoia. The situation escalated to the point where 4chan administrators intervened in September 2014 to remove Ebola-chan related content.

Similarly, during the COVID-19 pandemic, 4chan users created "Corona-chan," a moe anthropomorphization of the coronavirus. This character, often depicted with bat wings and a red cheongsam, was used to spread misinformation and racist conspiracy theories about the virus's origins, implying that Chinese people are inherently at fault for the disease.

This image depicts Vivian James, a moe anthropomorphic character created by 4chan users and designed to resemble a female gamer. While seemingly innocuous, her design contains hidden symbolism tied to a misogynistic meme, highlighting how the aestheticization of seemingly harmless characters can be used to normalize and propagate harmful ideologies within online communities.

Other controversial examples include "Vivian James," a moe character associated with Gamergate, a coordinated harassment campaign against women in the gaming industry, and "ISIS-chan," a moe anthropomorphization of the terrorist organization ISIS. Another prominent example is "Christ-Chan," a personification of Jesus Christ, often depicted alongside MAGA hats and slogans. These examples demonstrate how moe anthropomorphism can be used to trivialize serious issues, spread harmful stereotypes, and promote extremist ideologies.

The video game "Yandere Simulator," which had a large underage following in the mid-2010s despite its violent and questionable content, provides an example of how this can occur. The game, which has its origins closely tied to 4chan, has included mods featuring characters like Ebola-chan and Corona-chan, leading to controversy among the fandom. While the game itself is not intentionally political, its association with these controversial characters and its popularity among younger audiences raise concerns about the potential for unintentional indoctrination and the normalization of harmful ideologies. By presenting political concepts and figures in a cute and appealing way, it can desensitize people to the seriousness of these issues and make them more susceptible to manipulation and propaganda.

Social Movements and Aesthetics

Corporations and Pseudo-Activism

Various corporate logos adorned with the colors of the rainbow pride flag.

In recent years, corporations have become increasingly vocal on social and political issues, often aligning themselves with popular causes like LGBTQ+ rights, the Ukrainian war effort, and the Black Lives Matter movement. While some argue that this corporate activism can be a force for good, others criticize it as performative and opportunistic, accusing companies of prioritizing profit and public image over genuine commitment to social change. These criticisms become even more relevant when many companies have a history of racial or sexual inequality.

This trend gained popularity in 2015, following the U.S. Supreme Court's decision in Obergefell v. Hodges, which legalized same-sex marriage nationwide, as well as other factors such as the rise of social media, increased consumer activism, and the growing influence of ESG (Environmental, Social, and Governance) investing. Many companies have adopted the practice of changing their social media profile pictures to reflect support for trending causes. In 2020, raised black fists adorned all sorts of social media pages. During Pride Month, rainbow flags adorn corporate logos, while Ukrainian or Palestinian flags proliferate during the ongoing conflicts.

2022 tweet by Elon Musk, featuring the "I Support the Current Thing" NPC wojak meme.

However, this practice has been met with criticism, with some accusing companies of "rainbow-washing" or "Ukraine-washing" – using symbolic gestures to deflect from their own questionable practices or lack of substantive support for these causes. The "I Support the Current Thing" meme has emerged as a satirical commentary on this trend, highlighting the perceived shallowness and bandwagon effect of much corporate activism.

This criticism is often directed at the performative nature of these actions, with companies accused of prioritizing optics over meaningful change. Critics point to the lack of concrete action or policy changes that would demonstrate genuine commitment to the causes they claim to support. For example, companies may display rainbow flags during Pride Month while simultaneously funding and donating to anti-LGBTQ+ politicians or maintaining discriminatory workplace policies.

As seen with this screenshot, Middle Eastern branches of companies do not use LGBTQ+ colours during pride month.

Moreover, this trend often appears to be geographically selective. While Western branches of multinational corporations may prominently display support for certain causes, their counterparts in other regions, such as the Middle East, often remain silent or even actively oppose these same causes. This inconsistency raises questions about the sincerity of corporate activism and suggests that it may be driven more by commercial interests than genuine commitment to being ethical.

The aestheticization of politics plays a significant role in this phenomenon. By adopting visually appealing symbols and slogans, corporations can create the illusion of support for social causes without making substantial changes to their practices. This can mislead consumers and dilute the impact of genuine activism, potentially hindering meaningful progress on important social and political issues.

Similar criticisms also apply to the infamous Corporate Memphis aesthetic, a design style often used in corporate branding and advertising. Characterized by its use of bright colors, whimsical figures, and unrealistic body proportions and skin tones, Corporate Memphis has been accused of prioritizing a superficial form of "representation" that ultimately reinforces stereotypes and erases diversity. The use of unrealistic skin tones and exaggerated features can further contribute to the alienation of marginalized groups.

BLM Makeup Trend

Various women with BLM-inspired makeup.

While TikTok helped amplify the Black Lives Matter movement in 2020, it also saw many instances of performative activism, where users were accused of using the movement for personal gain or attention. A controversial trend involved creators, predominantly white women, incorporating BLM-related imagery and slogans into their makeup, when a simple raised fist or actually helping people in need could get the point across. This attracted criticism for trivializing the movement and using the struggles of black people for aesthetic purposes. Many creators involved in the trend faced backlash, leading them to delete their videos or make their accounts private. However, some, including model and influencer Amelie Zilber, kept their videos up despite the controversy.

Media Examples

Mickey Mouse

These pages from the 1940 children's book "Here They Are" introduces Mickey and Minnie Mouse in a cheerful, idealized setting. The bright colors, simple shapes, and friendly expressions create a sense of innocence and optimism. This idealized world, characteristic of early Disney, can be seen as a form of aestheticization, offering escapism from the anxieties of the era, but also promoting a sanitized view of reality.

Walter Benjamin saw figures like Mickey Mouse as examples of how the aestheticization of politics could manifest in mass entertainment, including children's media. He argued that figures like Mickey Mouse, through their widespread popularity and seemingly innocent nature, could serve as a form of "psychic vaccination" for the masses. By presenting sanitized and idealized versions of reality, such figures could potentially distract people from the anxieties and tensions of modern life, preventing the development of what he termed "mass psychosis."

While figures like Mickey Mouse can provide comfort and escapism, their sanitized and idealized portrayal of reality can be concerning. This aestheticization of entertainment can promote conformity by presenting a narrow view of what is considered "acceptable" or "normal." It can also discourage critical thinking by offering simplistic solutions to complex problems or by avoiding difficult or challenging topics altogether. This can lead to a passive acceptance of the status quo and a lack of attention towards the social and political issues that shape our world.

llustration for the September 1942 issue of Coronet magazine. Featuring Donald Duck and other characters in military uniforms with the American flag in the sky, this exemplifies how popular culture was mobilized to support the war effort during World War II. The aestheticization of patriotism and militarism is evident in the characters' cheerful demeanor and the idealized portrayal of military service. This type of propaganda aimed to galvanize public support for the war and instill a sense of national unity, even among children.

This shift in Mickey Mouse's image can be seen as a reflection of broader social and political changes. During the 1930s and 1940s, a period marked by economic depression and war, Mickey Mouse's image was increasingly used to promote patriotism and national unity. He appeared in wartime propaganda, encouraging children to support the war effort and buy war bonds.

In the postwar era, Mickey Mouse's image continued to evolve, becoming a symbol of American consumerism and the idealized suburban lifestyle. He appeared in countless merchandise, television shows, and theme parks, promoting a sanitized and idealized version of American life. This aestheticization of Mickey Mouse's image can be seen as a form of "soft power," where cultural influence is used to shape global perceptions and promote national interests. By presenting a positive and idealized image of American culture, Mickey Mouse and other Disney characters have played a key role in promoting American values and ideals around the world.

The case of Mickey Mouse shows how popular culture, aesthetics, and politics are all connected. It demonstrates how figures like Mickey Mouse, often seen as just entertainment, can be given political meaning and used to influence how people see the world and support certain ideas. This shows why it's important to look at popular culture with a critical eye, recognizing that it can both reflect and shape our understanding of the world.

The Hunger Games

Elizabeth Banks as Effie Trinket, the Capitol escort for District 12 tributes, in a characteristic costume from The Hunger Games film series. Her elaborate attire exemplifies the extravagant fashion of the Capitol elite, contrasting sharply with the more utilitarian clothing of the District residents, as portrayed by Jennifer Lawrence as Katniss Everdeen. This visual contrast between Effie's elaborate Capitol attire and Katniss's simpler clothing shows the socio-economic disparities depicted in the series. The significant cost of such garments is juxtaposed with the financial struggles faced by many within the Districts, reflecting the series' themes of inequality.

"The Hunger Games" is a prime example of the aestheticization of politics within a fictional dystopian society. Based on Suzanne Collins' young adult dystopian novels, the films depict Panem, a North American country consisting of the wealthy Capitol and 13 districts in varying states of poverty, where a totalitarian regime maintains control through a televised spectacle of violence: the Hunger Games.

Each year, two children, one boy and one girl, from each of the first twelve districts, between the ages of 12 and 18, are selected via lottery to participate in the Games, a compulsory televised subjugation, disguised as a battle royale death match, broadcasted throughout Panem. The minimum age requirement for participation is 12, and the number of tickets put into the lottery increases by one every year, though for every ticket, the individual also receives one set of rations. The Capitol uses this spectacle to reinforce its power and suppress dissent. The Games are presented as a form of entertainment, distracting the population from their oppression and reinforcing the Capitol's authority. The districts exist in varying states of poverty, while the Capitol thrives in decadence, lavishly rich and technologically advanced. This disparity is part of the oppressive nature of the regime.

The Capitol manipulates the aesthetics of the Games to create a captivating spectacle. Elements such as elaborate costumes, dramatic lighting, and emotional narratives are used to keep viewers engaged and generate excitement. Even themes of love, friendship, and sacrifice are exploited to heighten the emotional impact and create a sense of empathy for the tributes. The Hunger Games themselves serve multiple purposes: providing entertainment for the Capitol, reminding the districts of the Capitol's power, and demonstrating the Capitol's lack of remorse for a past rebellion.

By framing the Games as a necessary tradition and a source of national unity, the Capitol effectively manipulates public perception and maintains its grip on power. The Hunger Games are a stark warning about the potential for the aestheticization of politics to be used as a tool for oppression and control. The destruction of District 13, implied to be by nuclear weaponry, and the subsequent Hunger Games, are presented as punishment for a past rebellion, further emphasizing the brutal control exerted by the Capitol.

The Hunger Games resonates perfectly with Walter Benjamin's concept of the 'aestheticization of politics.' Benjamin, writing during the rise of Nazism, argued that totalitarian regimes could exploit mass media to turn political events into "spectacles" and aesthetic experiences, thereby masking their underlying brutality and consolidating power. The Hunger Games, with its televised spectacle of violence, embodies this very danger.

No (2012 film)

This rainbow symbol, accompanied by the slogans 'No' and 'Chile, la alegría ya viene' (Chile, joy is coming), was used in the 'No' campaign for the 1988 Chilean plebiscite. It reflects the campaign's successful strategy of emphasizing hope and optimism, contrasting with approaches that focused primarily on the negative aspects of the Pinochet regime.

The Chilean 2012 film No, directed by Pablo Larraín and based on Antonio Skármeta's play El plebiscito, depicts the 1988 Chilean plebiscite that determined whether dictator Augusto Pinochet would remain in power. Gael García Bernal stars as René Saavedra, an advertising executive hired by the "No" campaign. The film focuses on the advertising strategies employed by both sides during the 27 days of televised campaigning, where each side had 15 minutes per night. This way, the film documents the aesthetic strategies used by both sides to influence public opinion.

Saavedra's approach for the "No" campaign contrasted sharply with the existing material, which he deemed depressing and ineffective. He advocated for a positive and optimistic message, emphasizing abstract concepts like "joy," rather than solely focusing on the regime's abuses. This strategy, initially met with skepticism, proved successful. The "No" campaign, supported by many of Chile's artists, produced creative advertisements that resonated with a broad audience. The "Yes" campaign, led by Saavedra's boss, Lucho, struggled to compete, relying on dry economic data and lacking creative talent.

Throughout the campaign, the "No" team faced intimidation and censorship from the authorities. These tactics, however, often backfired, generating public sympathy for the "No" campaign. The film shows how the "No" campaign used these attempts at censorship to their advantage in their marketing. The campaign also incorporated international celebrity endorsements and public rallies. As the plebiscite neared, the "Yes" campaign began to imitate the "No" campaign's advertising style.

The film culminates with the plebiscite results, which favored the "No" vote. Historical footage shows Pinochet relinquishing power to Patricio Aylwin. No received an Academy Award nomination for Best Foreign Language Film. The narrative demonstrates how advertising and media strategies can influence political outcomes and contribute to the fall of a dictatorship.

The film demonstrates how propaganda, in this case against dictator Pinochet, became a key tool in the election. The "No" campaign used all the elements of aesthetic production—media, design, and emotional appeals (including showing the horrors of the regime)—to achieve its political goal. This politicization of aesthetics is also evident in the Pinochet regime's campaign, which, while using the same mechanisms, aimed to control and manipulate the population rather than emancipate them, as the "No" campaign sought to do. These aesthetic strategies, employed by both sides, directly influenced the political outcome of the plebiscite.

Other Examples

Exhibitions

A Soviet SS-20 missile on display in Kyiv, Ukraine. Such exhibitions, while educational, can contribute to the aestheticization of war and weaponry, potentially fostering admiration for military power.

Certain types of exhibitions can also be seen as examples of the aestheticization of politics. These exhibitions often utilize visual displays and narratives to shape public perception and promote specific ideologies. One example is exhibitions that showcase military technology, weaponry, and strategies. These exhibitions, while aimed at educating the public about the military, can also create an aura of admiration and awe around military power. The display of advanced technology and weaponry can evoke a sense of national pride and reinforce the image of a strong and capable military force.

Portraits from Angélica Dass's "Humanae" project, documenting the diversity of human skin tones. While promoting equality, such exhibitions can also raise questions about the aestheticization of diversity and its potential to overshadow action.

Another example is the exhibition of Angélica Dass's "Humanae" project, which features portraits of individuals from diverse backgrounds. This project aims to highlight the shared humanity of people across different races, cultures, and social classes. While the project promotes a message of equality and inclusivity, it also brings into question the potential for such exhibitions to become a form of political spectacle. The aestheticization of diversity and equality can, in some cases, overshadow the need for concrete political action to address systemic inequalities.

Football and Politics

Football, or soccer, the most popular sport in the world, serves as a powerful example of the aestheticization of politics, particularly on a global scale. Major events like the World Cup capture the attention of millions worldwide, creating a shared experience that transcends national borders. However, this global spectacle is also notably used to promote national identities, political ideologies, and commercial interests.

A lapel pin featuring the English flag, its iconic lions, and the slogan "No Surrender." This emblem exemplifies how nationalist symbols and slogans can be aestheticized to evoke historical conflicts and national identity, often in the context of sporting events or political rallies.

For example, the chanting of "Gibraltar español" (Gibraltar is Spanish) by Spanish nationalists during matches against Gibraltar or England exemplifies how football can become a platform for asserting territorial claims and expressing nationalist sentiments. Similarly, chants of "No Surrender" by England fans during games against Germany or Argentina evoke historical conflicts and rivalries. Football and its global-reaching audience often taps into deep-seated national narratives.

The competitive nature of the World Cup often fosters a sense of nationalism, as fans identify with their national teams and their performance becomes a source of national pride. This can be exploited to promote political agendas and create a sense of unity behind a particular leader or ideology. The aestheticization of politics in football is not limited to national teams and international events. It is also evident in the various subcultures and fan groups that surround the sport, particularly those associated with "Ultras" and "Hooligans."

Ultras are organized groups of passionate football fans known for their fanatical support and elaborate displays of loyalty. Their use of chants, flags, banners, flares, and smoke bombs creates a visually and aurally charged atmosphere in stadiums, designed to intimidate opponents and galvanize their own team. While not inherently political, ultras groups often adopt symbols and slogans that reflect their political ideologies, ranging from far-right to far-left. This politicization of fandom can manifest in the display of flags and banners with political messages, the use of specific chants and songs with political connotations, and even the organization of marches and protests outside of stadiums.

This Basque hooligan scarf, with the slogan "Euskal Hintxak" (Basque Hooligans), sits at the intersection of sports, regional identity, and political ideology. The iconography includes the Basque coat of arms, a map of Euskal Herria, the Arrano Beltza (Black Eagle) symbol, red fist, and an anti-fascist symbol. Fan objects are often imbued with political and cultural significance.

Hooligans, on the other hand, are primarily associated with violence and disorder. While they may also use flags and banners to display their allegiance, their primary focus is on physical confrontation with rival fans. However, even within hooligan subcultures, there can be an aestheticization of violence and aggression, with certain styles of clothing, tattoos, and ritualistic practices contributing to a sense of identity and belonging.

Both ultras and hooligans often utilize custom-designed scarves, t-shirts, flags, and other attire that incorporate their team colors, symbols, and slogans. These scarves and flags serve as visual markers of identity and allegiance, creating a sense of unity and belonging within the group. The aestheticization of these symbols can further reinforce the group's identity and contribute to the aestheticization of their political or social messages.

Moreover, the commercialization of football contributes to its aestheticization. The sport has become a multi-billion dollar industry, with players, teams, and sponsors capitalizing on its popularity. Marketing campaigns and media coverage often focus on the spectacle and entertainment value of the sport, potentially overshadowing its social and cultural significance.

Sports, mass media, and politics are heavily intertwined in the modern world. The aestheticization of football can both unite and divide, fostering national pride while also reinforcing existing social and political divisions. Beyond overt displays of nationalism, football can also be subtly used to promote political agendas. Authoritarian regimes may use victories on the pitch to bolster their image and project an image of national strength and unity. Conversely, social movements and marginalized groups may use football to raise awareness of their cause and challenge the status quo. The iconic image of players taking a knee in solidarity with the Black Lives Matter movement demonstrates how football can become a platform for social justice activism too.

Mass Media and the Aestheticization of Politics

Mass media plays a key role in the aestheticization of politics by shaping public perception and disseminating ideological messages. This influence manifests in various forms, including:

• News Coverage: The way news is presented, including the selection of stories, framing of narratives, and use of visual imagery, can influence public opinion, mislead, or promote specific political agendas.
• Entertainment: Television shows, movies, and music can subtly convey political messages and reinforce or challenge social norms and values.
• Advertising: Political advertising utilizes marketing techniques to create emotional appeals, craft candidate images, and target specific demographics, often bypassing critical thinking.

The constant bombardment of information through mass media, often filtered through a specific ideological lens, can create a distorted reality where political discourse is reduced to soundbites and image management. This can make it challenging for individuals to critically analyze information and form their own opinions, potentially leading to a passive acceptance of the dominant narrative.

Social Media

Social media platforms have become a primary arena for the aestheticization of politics, providing tools for individuals and groups to create and share content that shapes political discourse. This includes:

• Memes: These visual elements combine images and text to convey political messages in a humorous and easily shareable format, but can also be used to spread misinformation and prejudice.
• Selfies: The selfie craze of the mid-2010s allows persons to create their own portraits and curate their online persona and convey political messages through visual self-representation. However, this can also lead to performative activism and a focus on individual expression over collective action.

Consumerism and Branding

The prevalence of clothing brands in contemporary society is another example of the aestheticization of politics in the realm of consumerism. Despite the fact that society has the resources and technology for people to create and customize their own clothing, a practice often referred as "DIY," we often prioritize brand names and logos over individual expression and moral production.

The appeal of clothing brands often stems from their association with status, identity, and belonging. By wearing certain brands, individuals can signal their affiliation with a particular social group or lifestyle. This creates a sense of manufactured identity, where consumer choices become a substitute for genuine self-expression.

The ethical implications of supporting brands that engage in exploitative labor practices, including child labor, are often overlooked in the pursuit of brand recognition and social status. The continued popularity of clothing brands, despite their ethical shortcomings and the potential for individual expression through alternative means, demonstrates how the aestheticization of politics can perpetuate consumerism and reinforce existing power structures.

See also

• 2020 TikTok ─ The emergence of TikTok as a platform for political expression, particularly among younger generations, blurred the lines between entertainment and activism. A particular community known as the "discourse community" emerged in TikTok and Instagram, where users often juxtaposed characters from pop culture and anime (such as Hello Kitty or Hatsune Miku) with politically-charged topics.
• Communist Chic and Nazi Chic ─ The appropriation of communist and Nazi imagery in fashion and popular culture. Sometimes it can be used subversely to critique power structures, particularly by countercultural movements, although it is often up to misinterpretation.
• Futurism ─ Artistic and social movement that glorified technology, speed, and violence, with complex and often troubling ties to Italian Fascism.
• Heroic Realism ─ An art style that often portrays idealized figures and heroic narratives, which can be used to promote political agendas and construct mythologies around leaders and nations. The concept of heroism and mythmaking are key elements in the aestheticization of politics, appearing in much wartime propaganda accross Europe and North America.
• Hyperborean ─ A white nationalist aesthetic primarily popular on TikTok and some imageboards that utilizes elements of esoteric fascism, often under the guise of irony, and is associated with anti-immigration dogwhistles and slogans.
• Neoclassicism ─ An architectural and artistic style that draws inspiration from the classical art and architecture of ancient Greece and Rome. It often emphasizes order, symmetry, and grandeur, and has been used to convey political power and authority throughout history, including by the Nazi regime.
• Plakatstil ─ Influential graphic design style known for its bold simplicity, which shaped early 20th-century poster art and was often used for political propaganda, until eventually being discarded by the Nazi regime under the assumption that its creator was Jewish.
• Politicalwave ─ Online genres and aesthetics that appropriate elements of synthwave and vaporwave, turning them into a form of digital propaganda. This umbrella term includes visually similar aesthetics that promote a wide range of political ideologies, ranging from fascism and neo-Nazism ("Fashwave") to more contemporary movements like Brexit ("Faragewave").
• Romanticism ─ An artistic, literary, and intellectual movement that emphasized emotion, individualism, and the glorification of the past. Romanticism helped develop national myths and personifications, which are often used to aestheticize political ideologies and national identities.
• Socialist Realism ─ The dominant art style of the Soviet Union and other communist states, characterized by its idealized depictions of workers and its propagandistic function.
• Sots Art ─ An art movement that emerged in the Soviet Union in the 1970s, using irony and parody to critique and subvert the official aesthetics of Socialist Realism and the Soviet regime. Shares similarities with Pop Art in the West.
• Wehraboo ─ A pejorative term used to describe individuals, often young people, who are fascinated by the aesthetics and military culture of Nazi Germany, often without a deep understanding of the historical context or the regime's atrocities. This fascination can be seen as a form of aestheticization of politics, where the visual appeal of symbols and uniforms overshadows the horrific reality they represent.

Notes

"This page explores the concept of the aestheticization of politics, which involves the use of aesthetics for political purposes. This can include the analysis of regimes and ideologies that have historically caused harm and suffering. Specifically, this page discusses the use of aesthetics in Nazi Germany, including the architecture, cinema, and propaganda of the regime.

The purpose of this discussion is not to glorify or promote these ideologies but to critically examine how aesthetics were used to manipulate public opinion, consolidate power, and justify oppression. Understanding the relationship between aesthetics, propaganda, and politics is becoming ever more relevant in today's world, where the rise of new technologies and media platforms has created new avenues for the aestheticization of political messages. By recognizing its mechanisms, we can be more vigilant against its potential misuse in the present and future.

If you are sensitive to discussions of historical violence and oppression, please proceed with caution. The examples presented here are intended to be educational and thought-provoking, encouraging critical reflection on the complex relationship between aesthetics, politics, and power."