Power of pictures? Questioning the emotionalization and behavioral activation potential of aesthetics in war photography.

Abstract

War photography is not only used illustratively in news media but also displayed as controversial art objects. The ethics and impact of aestheticization in war photography have long been debated. In three studies (N 1 = 243, N 2 = 251, N 3 = 254), we contribute empirically to this debate by testing the impact of aesthetics in war photography (i.e., aesthetic style and context) on emotionalization and behavioral activation. While viewing war photography was, overall, emotionalizing (especially regarding negative affect and moral outrage), we did not find any behavioral activation (i.e., donation intention and behavior or general willingness to act against war). Neither aesthetic style nor aesthetic context made a difference in affective or behavioral responses. However, a salient aesthetic context (Study 3) led to higher aesthetic judgments of war photographs. Overall, these results question whether aesthetics in war photography have a particular power for evoking emotional and behavioral responses.

Artistic activism: Can aesthetic reception reduce adverse effects of disruptive protest?

“…Second, following psychological theorizing in empirical aesthetics, aesthetic processing is characterized by psychological distancing that can lead to experiencing certain topics in the art context more positively than in an everyday context (Cupchik, 2002;Leder et al, 2004). This is corroborated by experimental research demonstrating that individuals tend to form more positive judgments -even of highly disturbing imagery of violence, suffering or devastation -if perceived as art (vs. press; Altenmüller & Gollwitzer, 2023;Gerger et al, 2014). Thus, disruptive artistic protest might also be subject to this positivity bias.…”

“…Protest action with artistic character range from displaying creative banners to engaging in artistic performances (Demos, 2016;McKee, 2014) such as the "Red Rebel Brigade" (individuals in red costumes performing choreographies) -a recurring element of environmental protests (Lavender, 2019) -or the "Standing Man" who became a silent, unmoving symbol of resistance during the Gezi Park protests 2013 (McGarry et al, 2019). Also, iconographic historical documentation can be reinterpreted as artistic (Altenmüller & Gollwitzer, 2023;Doerr et al, 2013) -for example, the unknown "tank man" who confronted approaching tanks at Tiananmen Square 1989. We consider protest as "artistic" if activists intend to produce art and institutions of the artworld (e.g., museums) recognize it as such (Davies, 2015;Hayn-Leichsenring, 2017).…”