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| Format: | Preprint |
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2025
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| Online Access: | https://arxiv.org/abs/2510.15256 |
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| _version_ | 1866917021149560832 |
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| author | Salguero, Ricardo Alonzo Fernández |
| author_facet | Salguero, Ricardo Alonzo Fernández |
| contents | Why have left-wing movements historically integrated participatory art forms (such as murals and protest songs) into their praxis, while right-wing movements have prioritized strategic communication and, more recently, the digital culture of memes? This article introduces the concept of aesthetic asymmetry to explain this divergence in political action. We argue that the asymmetry is not coincidental but the result of four interconnected structural factors: the organizational ecosystem, the moral and emotional framework, the material supports, and the historical tradition of each political spectrum. While the left tends to use art in a constitutive manner to forge community, solidarity, and hope, the contemporary right tends to use it instrumentally to mobilize polarizing affects such as humor and resentment. Drawing on comparative literature from the Theatre of the Oppressed to analyses of alt-right meme wars, we nuance this distinction and show how the aesthetic logic of each pole aligns with its strategic objectives. The article culminates in a prescriptive model for artistic action, synthesizing keys to effective mobilization into emotional, narrative, and formatting strategies. Understanding this asymmetry is crucial for analyzing political communication and for designing cultural interventions capable of generating profound social change. |
| format | Preprint |
| id |
arxiv_https___arxiv_org_abs_2510_15256 |
| institution | arXiv |
| publishDate | 2025 |
| record_format | arxiv |
| spellingShingle | From Murals to Memes: A Theory of Aesthetic Asymmetry in Political Mobilization Salguero, Ricardo Alonzo Fernández Computers and Society Social and Information Networks Why have left-wing movements historically integrated participatory art forms (such as murals and protest songs) into their praxis, while right-wing movements have prioritized strategic communication and, more recently, the digital culture of memes? This article introduces the concept of aesthetic asymmetry to explain this divergence in political action. We argue that the asymmetry is not coincidental but the result of four interconnected structural factors: the organizational ecosystem, the moral and emotional framework, the material supports, and the historical tradition of each political spectrum. While the left tends to use art in a constitutive manner to forge community, solidarity, and hope, the contemporary right tends to use it instrumentally to mobilize polarizing affects such as humor and resentment. Drawing on comparative literature from the Theatre of the Oppressed to analyses of alt-right meme wars, we nuance this distinction and show how the aesthetic logic of each pole aligns with its strategic objectives. The article culminates in a prescriptive model for artistic action, synthesizing keys to effective mobilization into emotional, narrative, and formatting strategies. Understanding this asymmetry is crucial for analyzing political communication and for designing cultural interventions capable of generating profound social change. |
| title | From Murals to Memes: A Theory of Aesthetic Asymmetry in Political Mobilization |
| topic | Computers and Society Social and Information Networks |
| url | https://arxiv.org/abs/2510.15256 |