If the zany is hot, and the cute is warm, then the interesting is cool, ironic, detached, even clinical.

What might be novel is the ownership and control over the entire value chain through command of the information vector itself.

“Pop always retroactively rescues unpop from the prison of its admirers.”

The interesting is a moving target, tracking along with the difference between norms and anomalies.

The zany: it’s a performative aesthetic that is hot and sweaty, anxious and excessive. It is physical and sometimes libidinal. It is about activities where play becomes a job or work gets too playful.

The interesting addresses a world of speeded-up information by asking for a slowed-down attention.

“The best explanation for why the zany, the interesting, and the cute are our most pervasive and significant categories is that they are about the increasingly intertwined ways in which late capitalist subjects labor, communicate and consume.”4 They are the material through which we can have perceptions and share judgments that seem most closely

the zany is more likely to convert triumph into failure than failure into triumph. Think the coyote’s endless labor of trying to catch the roadrunner.

Cuteness lacks beauty’s novelty, singularity, and untouchability—and power. The cute can be handled and fondled. It is proximate to kitsch, to easy consumption, to the simulating of affect.