Ugly Feelings (2005)

In her book Ugly Feelings, Sianne Ngai constructs a theoretical framework for analyzing and mobilizing affective concepts and presents a series of studies in the aesthetics of negative emotions, examining their politically ambiguous work in a range of cultural artifacts produced in what Theodor W. Adorno and Max Horkheimer refer to in their text, Dialectic of Enlightenment, as the ‘fully administered world of late modernity' ^[3]

Envy, irritation, paranoia—in contrast to powerful and dynamic negative emotions like anger, these non-cathartic states of feeling are associated with situations in which action is blocked or suspended. In her examination of the cultural forms to which these affects give rise, Sianne Ngai suggests that these minor and more politically ambiguous feelings become all the more suited for diagnosing the character of late modernity.

Our Aesthetic Categories (2012)

In her book Our Aesthetic Categories, Ngai argues that the Zany, Cute and the Interesting, for all their marginality to aesthetic theory and to genealogies of postmodernism, are the ones in our current repertoire best suited to grasping how aesthetic experience has been transformed by the hypercommodified, information-saturated, performance-driven conditions of late capitalism ^[4] Ngai considers how those feelings help us form judgments about the aesthetic world: How do we know to describe something as “interesting” or “zany”, and most importantly, what does our critical vocabulary say about our present time?

"Cute" is a much more ambivalent description than social niceties will allow us to admit.^[5] When we snatch up something cute in an embrace, we pantomime the act of defending a defenseless little pal from an imaginary threat, but the rigid urgency of our embrace, and the concomitant 'devouring-in-kisses' suggests that what we're protecting the cute thing from is ourselves.^[6][7] Using the example of a frog-shaped baby's bath toy, Ngai illustrates that cuteness is an aestheticization of powerlessness, as the purpose of the cute bath toy is for it to be pressed against a baby's body, and squished in a way guaranteed to repeatedly crush and deform its formless face. The nonaesthetic properties associated with cuteness - smallness, compactness, formal simplicity, softness or pliancy thus also index minor negative affects such as helplessness, pitifulness and even despondency. Ngai also argues that the term cuteness is a way of sexualizing beings while simultaneously rendering them unthreatening. She illustrates this by providing several examples of poems that deploy ‘cuteness’ as a means of rendering the overtly aggressive and sexual dimension of the theme unthreatening.

Theory of the Gimmick (2020)

Her newest book, Theory of the Gimmick explores the "gimmick" as encoding a relation to labor (the gimmicky artwork irritates us because it seems to be working too hard to get our attention, but also not working hard enough), and as the inverted image of the modernist "device" celebrated by Victor Shklovsky. While both are essentially artistic techniques that perform the reflexive action of "laying bare" the means by which their effects are produced, in one case this action gives rise to a negative aesthetic judgment while it becomes a bearer of high aesthetic value in the other Extending the focus in Ngai's second book on the historical significance of the rise of equivocal aesthetic categories (such as the merely 'interesting') and with an eye to the special difficulties posed by the very idea of an aesthetics of production (as opposed to reception), Theory of the Gimmick explores the uneasy mix of attraction and repulsion produced by the gimmick across a range of forms specific to western capitalism. These include fictions by Mark Twain, Charles Chesnutt, Gertrude Stein, Joris-Karl Huysmans, Villiers de L'Isle-Adam, and Henry James; twentieth-century poetic stunts; the video installations of contemporary artist Stan Douglas; reality television; and the novel of ideas.^[8]