This research seeks to expand on the current literature surrounding scientific and aesthetic concepts of cuteness through a biosemiotic lens. By first re-evaluating Konrad Lorenz’s Kindchenschema, and identifying the importance of schematic vs featural perception, we identify the presence of a series of perceptual errors that underlie existing research on cuteness. There is, then, a need to better understand the cognitive structure underlying one’s perception of cuteness. We go on to employ the methodological framework of Modeling Systems Theory to identify (...) and establish the forms that underlie both the encoding and decoding of cute phenomena. In redefining cuteness as a cohesive code, and establishing Kindchenschema as a schematic metaform, we set the foundation for the incorporation of biological and cultural theories of cuteness. This research offers an initial methodological framework for the examination of cute artifacts, that can be utilized in the fields of normative aesthetics, marketing, and design. (shrink)

This article considers the appeal of the cute body and its ambiguous relationship with the lovable. While cuteness is an aesthetic that is subjectively determined and expressed, it can also embellish a body with features that are standardized by systems of commodification. The cute body possesses a diminutive and vulnerable charm, but it is also an object that is augmented to solicit the subject’s love and control. Hence, the aesthetic of cuteness may seem to disempower the object, but it is (...) likewise, an acute seduction that bears witness to the craft or technē that captures the subject. Developing a framework for cuteness as a stylistic device or technology embedded in the subject-object relationship, the article argues that the qualities and experience of the lovable constitute a condition of the affected subject, who must bear the paradox of embracing and effacing the object’s difference. (shrink)

The term gurlesque refers to an aesthetics that mixes feminism, femininity, the grotesque and the cute. This article explores how contemporary Swedish feminist comic books do gurlesque theory with the aim of contributing to the theoretical conversation about feminine aesthetics and gurlesque. The study focuses on two contemporary Swedish comic books, Jag är din flickvän nu by Nina Hemmingsson and Allt kommer bli bra by Lisa Ewald. The article views gurlesque as a queer aesthetics, as a form of wilful misinterpretation (...) and taunting of perceptions of femininity. The word gurlesque draws from the word ‘girl’, and questions the connection between girlhood and young age from a queer perspective. Although the gurlesque is rooted in images of girlhood, it has the potential to grasp femininities of all ages. (shrink)