Understood in its totality, the spectacle is both the result and the goal of the dominant mode of production. It is not a mere decoration added to the real world. It is the very heart of this real society's unreality. In all of its particular manifestations — news, propaganda, advertising, entertainment — the spectacle represents the dominant model of life. It is the omnipresent affirmation of the choices that have already been made in the sphere of production and in the consumption implied by that production. In both form and content the spectacle serves as a total justification of the conditions and goals of the existing system. The spectacle also represents the constant presence of this justification since it monopolizes the majority of the time spent outside the production process.

Every sentence I utter must be understood not as an affirmation, but as a question.

An existence without positive affirmations and resolutions will turn out to be secure but insignificant.

I needed affirmations.

This sort of structure is called a double negative, but in effect it shows affirmation.

I'll take this as an affirmation.

Despite Trang's constant affirmations of love, Spenser is still afraid someday she will fall out of love with him.