Lacan and The Gaze

In ‘Lacan and Gestalt Theory, with Some Suggestions for Cultural Studies’ Ian Verstegen makes the following points considering Lacan’s theory of Mirror stage:
  • Within the Imaginary, the child learns that demand cannot be satisfied; learn the sameness and difference when viewing a mirror.
  • The gaze for Lacan encapsulates human subjectivity; it is always a personal construction.
  • A relationship of subjects to one another, or to groups, and can change in different contexts.
  • Acknowledged Lacan’s correction that properly speaking the gaze is not visual, it is not directly about looks but it is about relationships that include looks.

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Happy Objects by Sara Ahmed

I might say, ‘‘You make me happy.’’ Or I might be moved by something, in such a way that when I think of happiness I think of that thing.

Even if happiness is imagined as a feeling state, or a form of consciousness that evaluates a life situation achieved over time (Veenhoven 1984, 22– 3), happiness also turns us toward objects. We turn toward objects at the very point of ‘‘making.’’

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Networks of Transmission & The Avatar and Online Affect

Networks of Transmission: Intensity, Sensation, Value

Networked communications involve the circulation of data and information, but they equally entail a panoply of affective attachments:

  • articulations of desire, seduction, trust, and memory;
  • sharp jolts of anger and interest;
  • political passions;
  • investments of time, labor, and financial capital;
  • and the frictions and pleasures of archival practices.

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Film, Mirror and Semiotics

  • André Bazin and Sergeu Eisentein, film theorists

From 1916 onward, this focus on the conscious experience of the spectator predominated in film theory, as attested by the work of important film theorists such as André Bazin and Sergei Eisenstein. Though Bazin and Eisenstein agree on little, they do share a belief that film’s importance lies in its conscious impact. Neither considers the unconscious.

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Media representations and Semiotics

What’s and How’s about representations:

  • What is the represented object?
  • How, using what codes?
  • How it looks ‘true’ or ‘natural’ or ‘commonsense’?
  • What is on the foreground and on the background?
  • Who represent it and whose interests reflects?
  • Who is the target and how you know?
  • What this representation means to you?

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