In the second stage, strategies to use negative emotions for rich experiences will be developed and tested with a research through design-approach. This stage involves the design of a series of experiential prototypes, which will be used both as a means for developing and testing the different strategies. In addition, an appropriate assessment approach will be selected by testing the applicability validity of various assessment approaches e. In the third phase, the resulting strategies will be further detailed by testing application possibilities in realistic design cases that involve clients e.
KLM and users. Moreover, the strategies will be extended to be useful in all design stages, from initial context analysis to design materialization. Methods This project will make use of various methods, catering to the different research stages. First, a literature study will be carried out to investigate what is currently known in emotion theory about the elicitation, function, mechanisms and pleasure of different negative emotions.
Secondly, a phenomenological research method will be used to investigate the qualities and essence of different negative emotional experiences. Fourthly, to investigate how emotional frameworks can be applied to practical design cases, a research-through-design-method will be used. Research impact Negative emotions have been shown to contribute to pleasurable experiences in other domains e.
In addition, research that aims to understand the conditions under which negative usage emotions can be experienced as pleasurable has not been studied yet. The fundamental understanding of the role of negative emotions in pleasurable usage experiences generated in this project, therefore contributes both to design theory and practice, and possibly to general emotion theory. This knowledge can be used to design products that are distinctive in terms of the experiential impact. Moreover, the knowledge can be used in designing for products in which different negative emotions play a key role, such as commuting at rush hour, hospital environments, daily chores and airplane travel.
Publications Please view publications here. Kell waited for the king to say something, but his blind eyes had a steady, faraway look, and Kell feared he had lost him. He set the folded note on the tea tray and was halfway to the wall when the king spoke up. The king hadn't been able to write one for years. Some months he tried, dragging the quill haphazardly across the parchment, and some months he insisted on having Kell transcribe, but most months he simply told Kell the message and Kell promised to remember.
Kell let him have it. Kell paused. His eyes went to the clock. Late, and getting later. He pictured the Prince Regent sitting at his table in St. James, gripping his chair and quietly stewing. The thought made Kell smile, so he turned back toward the king as the latter pulled something from his robe with fumbling fingers. Can't smell it. Kell dug his hand into his pocket.
The first time he had visited the king of England, he'd given him a coin as proof of who he was and where he came from. The story of the other Londons was entrusted to the crown and handed down heir to heir, but it had been years since a traveler had come. King George had taken one look at the sliver of a boy and squinted and held out his meaty hand, and Kell had set the coin in his palm. It was a simple lin, much like a grey shilling, only marked with a red star instead of a royal face.
The king closed his fist over the coin and brought it to his nose, inhaling its scent. And then he'd smiled, and tucked the coin into his coat, and welcomed Kell inside. From that day on, every time Kell paid his visit, the king would insist the magic had worn off the coin, and make him trade it for another, one new and pocket-warm. Every time Kell would say it was forbidden it was, expressly , and every time the king would insist that it could be their little secret, and Kell would sigh and fetch a fresh bit of metal from his coat.
Now he plucked the old lin out of the king's palm and replaced it with a new one, folding George's gnarled fingers gently over it. Curtains gathered in the corner of the room, and Kell pulled the heavy material aside to reveal a mark on the patterned wallpaper. A simple circle, bisected by a line, drawn in blood a month ago. On another wall in another room in another palace, the same mark stood.
Becca Hirani in Darker Shades of Elise () Arron Blake in Darker Shades of Elise () Becca Hirani and Arron Blake in Darker Shades of Elise (). Fifty Shades Darker is a American erotic romantic drama film directed by James Foley and written by Niall Leonard, based on E. L. James's novel of .
They were as handles on opposite sides of the same door. Kell's blood, when paired with the token, allowed him to move between the worlds. He needn't specify a place because wherever he was, that's where he'd be. But to make a door within a world, both sides had to be marked by the same exact symbol. Close wasn't close enough.
Kell had learned that the hard way. The symbol on the wall was still clear from his last visit, the edges only slightly smeared, but it didn't matter. It had to be redone. He rolled up his sleeve and freed the knife he kept strapped to the inside of his forearm. It was a lovely thing, that knife, a work of art, silver from tip to hilt and monogrammed with the letters K and L. Kell brought the blade to the back of his forearm. He'd already carved one line today, for the door that brought him this far.
Now he carved a second. His blood, a rich ruby red, welled up and over, and he returned the knife to its sheath and touched his fingers to the cut and then to the wall, redrawing the circle and the line that ran through it. Kell guided his sleeve down over the wound—he'd treat all the cuts once he was home—and cast a last glance back at the babbling king before pressing his palm flat to the mark on the wall. The patterned paper rippled and softened and gave way under his touc h, and Kell stepped forward and through.
Over This broke the previous record, held by Star Wars: The Force Awakens , when it received million views in the same amount of time in October On November 10, the sequel was given an R rating by the MPAA for "strong erotic sexual content, some graphic nudity and language. In Canada, the film was classified under 18A for its sexual content in all provinces except Quebec. In the Philippines, the film received an R rating from the Movie and Television Review and Classification Board MTRCB , which means that only moviegoers aged 18 years and above can watch the film, due to its strong sexual content.
The film's soundtrack was released in two separate versions; one for the 19 popular artists' songs used in the film, and another separate release for the original score composed for the film by Danny Elfman. Two of Elfman's themes were also included on the popular artists' version of the soundtrack release. This marked a Much like its predecessor, Fifty Shades Darker received negative reviews from critics, who criticized its screenplay, narrative and Dornan's performance.
The site's critical consensus reads, "Lacking enough chemistry heat or narrative friction to satisfy, the limp Fifty Shades Darker wants to be kinky but only serves as its own form of punishment. Richard Roeper gave the film two out of four stars, saying: "This is one good-looking, occasionally titillating, mostly soapy and dull snooze-fest. I didn't really get it, but I enjoyed the feeling of them having fun, though at two hours plus, it's a bit of a slog.
Manohla Dargis writing for The New York Times expressed similar ambiguous opinions regarding the content of the film, stating:. I was still rooting for Ms.
Johnson in Fifty Shades Darker , even if it proved tough going. Once again, the story involves the on-and-off, tie-her-up, tie-her-down romance between Anastasia Steele Ms. Johnson and her billionaire boyfriend, Christian Grey Jamie Dornan , a guy with sculptured muscles, expensive playthings and dreary issues. Stuff and kink happens: A gun is fired, a would-be rapist is punished and Anastasia is bound hand and foot.
Mostly, she advances and retreats repeat , mewls and moans, and registers surprise each time Christian tries to dominate her outside the bedroom, evincing the kind of stalkerlike behavior that usually leads to restraining orders. Richard Brody of The New Yorker described the film as inferior to the first, and found fault in the change in directors, stating:. Some of the greatest Hollywood melodramas such as Douglas Sirk 's Magnificent Obsession featured plotlines of an even more extravagant absurdity than that of Fifty Shades Darker.
Their extreme artifice became a framework for extreme ideas and extreme emotions, even in an era of extreme public reticence about what goes on in the bedroom. The freedom of the current age of sexual explicitness invites realms of characterization—and of intimate imagination—that the first film in the Fifty Shades series hints at and the second one utterly ignores.
Fifty Shades Darker ' s indifference to its characters' identities, conflicts, and desires is matched by its indifference to its own cinematic substance. The film's bland impersonality is grotesque; its element of pornography isn't in its depiction of sex but in its depiction of people, of relationships, of situations that, for all their unusualness, bear a strong psychological and societal resonance.
There's nothing wrong with Fifty Shades Darker that a good director couldn't fix. The final installment of the trilogy was filmed back-to-back with Fifty Shades Darker and was released on February 9, From Wikipedia, the free encyclopedia. Fifty Shades Darker Theatrical release poster. Michael De Luca E. James Dana Brunetti Marcus Viscidi. Eloise Mumford as Katherine "Kate" Kavanagh, Anastasia's best friend and roommate, who is in a relationship with Christian's older brother, Elliot Grey. Bella Heathcote as Leila Williams, one of Christian's former submissives.
Rita Ora as Mia Grey, Christian's adoptive younger sister. Luke Grimes as Elliot Grey, Christian's adoptive older brother. Kim Basinger as Elena Lincoln, Christian's business partner and former lover. Max Martini as Jason Taylor, Christian's bodyguard and head of security.
Ashleigh LaThrop as Hanna, Anastasia's co-worker and friend. Main article: Fifty Shades Freed film. British Board of Film Classification. Retrieved September 1, Deadline Hollywood. February 7, Retrieved February 7, The Numbers.
Retrieved October 6, Rotten Tomatoes. January 21, Retrieved January 21, Retrieved May 7, Vanity Fair. Retrieved August 12, International Business Times. Retrieved June 30, Retrieved February 6, Digital Spy. Retrieved February 16, Retrieved April 5, Retrieved April 27, The Hollywood Reporter. Prometheus Global Media. Retrieved April 30,