The example of men applying this concept to women is used to argue for the “morally vital” need to “split the input from the output” when critiquing thick concepts in Simon Blackburn’s Ruling Passions. Lori Merish theorized the “banality” of this concept, whose “unpindownability” is explored in a 2019 book on its “power” by Simon May. Experiences of this concept tend to produce an “act of automatic mimesis” according to a 2012 book that uses the example of a frog-shaped sponge. This is the alphabetically first of three concepts (-5[1])analyzed in the book Our Aesthetic Categories, (10[1])which discusses it alongside the (10[1])“merely interesting” (10[1])and the “zany.” (10[1])Sianne Ngai (-5[1])(“nye”) has claimed that this quality renders people and objects (10[1])“appealingly powerless.” For 10 points, what (-5[1])aesthetic property, (10[2])often evoked by neoteny (10[2]-5[2])(“nee-OTT-uh-nee”), is the basis (10[1])of (10[1])Japan’s (10[1]-5[1])kawaii (10[1])culture? (10[1])■END■ (10[6])