The surprise that Javier Milei generated in Argentine politics demonstrates that forecasts and scenarios are only useful when they are projective. Predictions are very difficult in the realm of human decision-making. Especially in politics, where there is a great deal of uncertainty resulting from friction and changes in decisions and actions.

From a communication perspective, I believe Milei's surge in the polls and voting intentions is related to his communication style, specifically the aesthetic function of communication. Why? Because his ideas aren't new. They aren't even presented as new: they are ideas from the liberal tradition that Javier Milei has reintroduced into the Argentine political arena. But these classic ideas are packaged differently, and that packaging is Javier Milei. Thus, Milei has become a highly effective conduit for liberal ideas. Unfortunately, the word "aesthetics" is often associated with many misconceptions. The relationship between aesthetics and politics isn't a connection that emerged with modern media or social networks. It predates the media phenomenon and the world of... star system And of celebrities. It has always existed as long as a certain 'pomp' was necessary to impact people, to emotionally reach the inhabitants of a region, the citizens of a republic, or the voters of an election.

What does it mean that the Milei political phenomenon is the effect of the aesthetics he uses as a candidate? First of all, I'm not saying this in a pejorative way. Nor do I mean to imply that Javier Milei's political rise is trivial. On the contrary, I'm taking very seriously the aesthetic function that all communication always has. From some prejudiced perspectives, aesthetics are considered superficial and always dismissible. But the truth is that the aesthetic dimension of things is essential. Because the aesthetic is that which produces a cognitive impact accompanied by a special, unique, or particular feeling of attraction or pleasure, which produces enjoyment or also... shock, or displeasure. Pleasure and displeasure are the ultimate effect of aesthetics in the message.

The moral message regulated by aesthetics

Javier Milei's political message is rooted in a moral one. Both messages are strong, or rather, forcefully expressed. And, while form and content are inseparable in a given situation, Milei's expressive style ends up regulating and subordinating them. The aesthetic, as a function of communication, takes precedence over the political and the moral. The moral message radicalizes the political debate and polarizes the confrontation. In a democracy, the problem might stem from differences regarding 'how something is being done,' but this 'how' can be technical (someone lacks economic knowledge, or a plan has been implemented incorrectly, or a course is being followed that will not generate well-being) or 'moral,' and then the likelihood of polarization is greater because the discussion is framed as between 'the good guys' (us) and 'the bad guys' (the others). Milei isn't the only politician doing this. In fact, for some time now, political discourse in Argentina has become increasingly moralized, generating this polarization that can become ever more radicalized. But in addition to the moral discourse, Milei deepened the aesthetic function of his expression to the maximum, and this makes it more perceptible and noteworthy.

Lexicon, authority, and culture

 Milei's verbal discourse tends toward differentiation and the construction of authority. "The peso is the currency of the elite and it's not even good for fertilizer," he said at the rally in Mendoza, in front of almost 12 people. "We've come to explain why we want to get rid of that garbage the peso; it's the currency of the elite and it's not even good for fertilizer. That bunch of thieves said that the peso represents sovereignty. You talk about sovereignty when you want to keep people enslaved." The direct, frontal, populist rhetoric ("bunch of thieves") is combined with the constant defense of the people ("you want to keep people enslaved"). Disqualifying the political class as a whole by calling it the "elite" is one of Milei's most frequently used expressions. Furthermore, the discourse is designed for a model, educated reader. "The question is, who would be the replacements? The economists from Patria? It would be like calling Nero to put out the fire. Guzmán is bad, but the rest is a complete disaster." Both the concept of "caste" and the name "Nero," used within the fire metaphor, define his ideal reader as someone with a high or upper-middle level of education. Criticism of the political class is not Milei's own idea. And liberal values ​​and principles are even less so. These are concepts from a political culture that has existed in Argentina for a long time. However, Milei has managed to insert them into the Argentine political discourse to distinguish himself.

On the other hand, he incorporates certain techniques into his discourse that aim to project authority. “The data is staggering. If you look at the last 12 months, we're at 55% (inflation); if I take the quarterly figure and annualize it, I'm at 80%; and if I take the latest figure, I'm at 117%. Now, if I take food and annualize it, I'm at around 130%. This isn't all; food prices are linked to international commodities, and I have an exchange rate gap of around 100%, so the true inflation in Argentina is 300%.” Whether or not this is debatable, the use of numbers can create a certain image of security and authority. Javier Milei first gained recognition as an expert interviewee on economics, and it was his economic discourse that earned him respect and authority within the press.

Prosody and attention

Furthermore, the difference lies not only in vocabulary but also in the emotional aspects of language. This differentiation is achieved through his manner of speaking, his prosody. This sets him apart and commands his attention. First, Milei speaks and expresses himself with great emphasis on what he considers important. The intensity he brings to his statements is very strong. He raises his voice and frequently changes his intonation to convey different attitudes toward what he is saying to his interlocutor. Second, the speed at which he speaks increases the sense of authority in the listener. Speech rate can be a mechanism to give the impression that someone knows a great deal about something. While this may or may not be the case, the impact is significant on the image the listener forms of the speaker.

Self-design: from personal poetics to people's aesthetics

All the candidates have a certain aesthetic. Mauricio Macri shaved his mustache, which modernized his image considerably. José Luis Espert lost weight for the campaign, although he maintains the image he had as an economist and expert guest on news programs. The current mayor of Buenos Aires has been wearing crew-neck t-shirts for years and hardly ever changes his style. The President of the Nation, on the other hand, never goes without a tie and suit in any of his public appearances. Milei, while remaining authentic since his style hasn't changed since entering politics, has a way of speaking, dressing, and styling his hair—a self-designed image—that is impossible to mistake for any other politician in Argentina, and I believe, in the region.

El bar code Milei's approach is one of formality-informality. He almost always appears in a dark suit and dark tie, but always with very informal mannerisms, sometimes even vulgar, using certain terms specific to him ("the political caste") and many others from informal, street, and neighborhood conversation ("thieves"). His crafts The particular style he acquires is defined by his unmistakable appearance and his language. His hairstyle and the language he has developed are combined with certain expressive rituals that are unique to Milei. The way he looks, describes his adversaries, explains his political stance, his facial expressions at events, and his gestures with his arms and hands are all distinctive forms of expression that have captured the attention of a certain group of viewers. Milei knows how to adapt his appearances to the logic of those... in the media In general, and popular culture media in particular, his extravagant and forceful style made him a media personality first, and then a guest who always generated buzz, something to say and criticize. Milei has an aesthetic that perfectly suits the logic of the media. Ultimately, Javier Milei tries to create a shock experience at events and media appearances. The language he uses and his prosodic style are key to triggering this experience. Above all, his image is closer to the lead singer of a heavy metal band than to the style of a contemporary politician. This "heavy metal rocker of politics" persona allows him to stand out and differentiate himself, as well as increase his notoriety (he has the same level of recognition as Ricardo López Murphy, who has been in politics for over twenty years, and more recognition than Diego Santilli).

Milei as an image

Javier Milei's image has become ingrained in people's minds and is easily recognizable through a Google search. His visual image (both digital and mental) is found on computers, in searches conducted from Jujuy to Tierra del Fuego, including La Pampa and the province of Buenos Aires. Compared to searches for José Luis Espert, Milei far surpasses him, even though both present quite similar ideas and offer similar critiques of the history of the political class. Milei's visual image is characterized by an air of informality (the formality of his suit and tie doesn't quite overshadow the informality of his mannerisms and use of verbal formulas). His image is characterized by a blend of modernity (his hairstyle is more reminiscent of a rocker than a business executive) and a mix of popular and elitist (not even academic or technical language can counter a style defined by references to the former Racing goalkeeper and his straightforward, horizontal communication style). This creates a sense of strangeness that defies easy definition. This obtuse image that Milei projects is, for now, an asset. We'll have to see how long that lasts.

In conclusion, aesthetics play a special role in his message. Aesthetics in politics is a permanent dimension. There is no possibility of politics being devoid of aesthetics. The discussion about the place of aesthetics in politics is present in political philosophy and is a matter that those of us dedicated to communication should address today. To be more direct, the candidate's poetics and the aesthetic perception of a group of citizens produce the phenomenon that pollsters and much of the political establishment are currently discussing. It is not easy to do what Javier Milei does. It is not easy to feel comfortable with the image he has crafted. One can only feel comfortable if one's expressive style stems naturally from one's identity. I believe there is a high probability that the Milei we see on news programs and at political rallies is the only Milei that exists. His public aesthetic coincides with his private aesthetic. But this does not mean that this very particular expressive style has not been important, as it has led him to achieve the prominence that liberal ideas hold today in the political arena in Argentina. It's very difficult to predict the future of politics in Argentina. But one thing is certain: it takes more than a striking and spectacular image to gain traction with the electorate and, more importantly, to manage or administer public resources from a position of power. Time will tell.

*Director of the Master's Program in Communication Management, Graduate School of Communication, Universidad Austral.

Source: perfil.com