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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Neuro-Linguistic Programming

What is NLP?

NLP stands for Neuro-Linguistic Programming. It is a system for testing and changing real-life behaviour through a set of principles, behavioural approaches and techniques. It allows you to change, adopt or eliminate habits and offered a choice of the best for each person emotional and physical status. It provides tools for the study of our own behaviour and the behaviour of others.

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Spring Breakers – Analysis (audio)

[…] A possible connotation reveals the symbol of failed teen’s generation as depiction of failed government, failed education, failed culture, failed religion. In this line of thoughts, characters behaviour could be decoded as act of rebellion and their ineligible viewed as morally-wrong actions could be decoded as aim to kill the system they hate. […]

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Film, Mirror and Semiotics

CINEMA AND THE MIRROR
  • 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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