• Journal of Korean Philosophical Society
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• v.105
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• pp.401-421
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• 2008

The purpose of this paper is to examine the achieved role of Kant philosophy in restructuring Deleuze philosophy from either a positive or effective perspectives. On top of this foundation, I will demonstrate the major part largely unknown in a composing structural elements of Deleuze philosophy as follows: 1. I will draw a bird's-eye view of the triad of Bergson, Nietsche, and Spinoza regarding Deleuze philosophy. Especially I will spare time in analyzing Deleuze's late works like and then demonstrate the structure of Deleuze movie philosophy. 2. The line of Kant's position in that circumstance will be clarified as well. 3. Through that, the meaning of Kantian attempt and its effect will be examined. Finally the connecting Kant with various levels of Deleuze's Copernicusian revolutions based on will certainly bring about a meaningful fruitification.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.329-355
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• 2021

The objective of this paper is to reveal that the formation of Deleuze's system is a result of a back flow of the 'ideal of pure reason' in Kant's system. I will try to seize upon the keyword in his main book, Difference and Repetition, and examine the aspect of mutual transformation between Deleuze's transcendental empiricism and Kant's transcendentalism. When analyzing Deleuze's system, most researchers tend to focus on anti-Hegelianism, but it is proper that Kant be adopted as the start when tracing the way of deployment directly. Fundamentally, Deleuze is different from Hegel in his approach to observing entire ground of thought. Even if Deleuze surely has the capability of becoming in the dialectical context, his systemic environment wherein dialectics is applied is different even at the onset. While Hegel follows the way of origin and copy or a system that begins from a preceding point of origin, Deleuze follows a way of copy and recopy or a system that begins without a point of origin. This characteristic of Deleuze's system originates directly from idealistic play. In fact, we can anticipate and identify in his book that he refers to Kant who accepted the tradition of empiricism. Therefore, the main contents of this paper is to present an overview of Kant's influence on Deleuze's system. While tracing ideas back to Kant's system, the cohabitation of empiricism and rationalism, which Kant felicitously revoiced, there emerges a definitude of world recognition. This occurs through cohabitation, and this is both deconstructed and integrated by Deleuze, and therein definitude is turned into a vision of prosperity. To the vision of prosperity that spans definitude to recognition, a philosopher has the right to select a philosophical system because selection methodology in philosophy is not a problem of legitimacy so much as the needs of the times. Deleuze's choice resulted in the opening of pandora's box in an abyss and secret contents have in turn risen sharply.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.169-178
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• 2010

This paper has conducted a theoretical re-inquiry on Gilles Deleuze' thought about Alfred Hitchcock' film based on the image of thought in relation with the concept and theory about film. So, the purpose of this article is to explore that film can acquire the academic significance as a philosophy including an academic denomination of social science and Arts. According to the findings, Gilles Deleuze appeared that A. Hitchcock used the mental-image which can transform the perception-image, the action-image, and the affection-image in film and make the relation including the way which it is developed between character and event. Also, as the mental-image can change the meaning of film, camera is the essence and mental referent. And the mental-image makes the other images a specific frame, permeates into image and transforms it. This paper sets limits to some problems that Deleuze's thought about film generalizes to filmic theory, but has a importance to inquiry new research as a theoretical introspection for the practical discussion about the relation between film and philosophy.

• Journal of Korean Philosophical Society
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• v.117
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• pp.249-273
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• 2011

In this paper, I suggest a discourse on some delicate relations between the philosophy and the cinema, or between the visualizing philosophical reflection and the contemplating cinematic imagination. In this context, G. Deleuze is not a simple philosopher and Director Hong, not a director. Each is a kind of metonymy. Deleuzean style of philosophizing asks for Hong's nomadic style of producing cinema. and of course in the same manner, the latter asks for the former. The latter visualizes the speculative empiricism of the former, the former crystalizes the visual esthetics of the latter. To speak with Deleuzean vocabularies, it is not possible for the State Apparatus to capture the diverse works of director Hong. Because each of them is a kind of War Machine which always slips from every tackle of State Apparatus. Deleuzean key word 'genetic becomming' is a main concept of Hong's works. The point is not to dispose the theses 'becomming' of his works in the line of series but to release them in the line of rupture. My paper would show the sharp ridicules director Hong had poured on the conservative circle of the cinema in the context of Deleuzean nomadology.

• Journal of Korean Philosophical Society
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• v.141
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• pp.263-286
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• 2017

It is well known to us that in its enlarged sense Deleuze's philosophy has confrontation with platonism that has dominated the whole western ideas, and in a narrow sense it is confrontation with representative thinking and representative arts. In other words, it's obvious what Deleuze has considered the most important in his whole of ideas is to think not in a representative way but in a non-representational way and to disentangle thinking from its representative image. To examine the way how Deleuze criticize representation, and how he overcome modern ideas is not just to make a clean breast of platonic inheritance. Because they are essential for facing up to the actual circumstances of our contemporaries who have degraded servility of totalitarian thoughts under the thinking of identity, and furthermore, it is essential for overcoming this situation and proceeding to nomadic thinking, liberating thinking. This study is not intended to be a definitive account of all his criticism of representation. Because, as is well known, Deleuze's criticism of representation contains a wide variety. And so this study were limited a relatively small number of points in Deleuze's position on representation as follows. How does Deleuze's criticism of representation has been developed in his theory of paintings? And what does it mean to us today? In this paper, I paid special regard to make sense out Deleuze's concept of 'figure' in his important writings that pertains to an analysis of his criticism of representation, Francis Bacon: The Logic of Sensation. And having traced the development process of the concept of 'figure', I want to understand the implicit meaning of the concept in constant flux of his critical thinking.

• Journal of Korean Philosophical Society
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• v.145
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• pp.381-407
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• 2018

Gilles Deleuze presents his distinctive logic of sensation in "Francis Bacon: The Logic of Sensation" with his own approach to Bacon's paintings. What matters here is the sensation of 'haptic' that is 'one possibility of the eyes' but different from optical perception. The concept of 'haptic' has been translated into Korean variously, and Gilles Deleuze adopted this concept from Austrian art historian, Alois Riegl. Alois Riegl had used the concept of 'haptic' to mean proximate view (Nahsicht in German) as in seeing Egyptian bas-relief. Gilles Deleuze was in succession to Alois Riegl's way of thinking and used the concept of 'haptic' to discuss Bacon's paintings. By the way, Alois Riegl had adopted this concept anyway to read Egyptian bas-reliefs, but Gilles Deleuze applies this concept to paintings. Actually, this concept in Gilles Deleuze's theory of painting has more meanings than Alois Riegl'. That is to say, when we intend to understand "The Logic of Sensation" as a new logic of sensation to be represented more than just a discussion about Bacon's paintings, we would say that key word is the concept of 'haptic' being symbolic of Bacon's paintings. Yet, what kind of sensation is the 'haptic'? And, what is Deleuze's theory of sensation? I want to interpret "Francis Bacon: The Logic of Sensation" as a work being developed through his own theory of sensation, and further more I should like to draw special attention to the sensation of 'haptic' in order to make his theory of sensation with admirable clarity.

• Journal of Korean Philosophical Society
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• v.123
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• pp.409-440
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• 2012

It is well known that Deleuze began his philosophical work from researching the biographies of many predecessors' such as D. Hume, Lucretius, I. Kant, B. Spinoza, F. W. Nietzsche, H. Bergson, and etc. Among them, especially Spinoza, Nietzsche, and Bergson constitute a foundation supporting the whole idea of Deleuze. He declared that the goal of his early biographical work is a theme converging the identity of two philosophers, Spinoza and Nietzsche, and it shows that these two philosophers had such a huge significance to Deleuze, at least by then. However, we may point out two issues here. The first is why Deleuze, who is recognized as a philosopher of 'difference', deals the identity. The other issue is, what kind of identity exists between the two philosophers, Spinoza and Nietzche. In a common sense, their ideas contradict to each other. Spinoza puts God at the center of his philosophical system, whereas Nietzsche declared 'God is dead'. Though Nietzsche expressed a concurrent opinion with Spinoza at first, it is well known that he turned his side against him soon after and criticized him sharply. There is a conflict at the core of this criticism concerning the existence or non-existence of God. Many think that Spinoza, however, cannot be free from the argument that his philosophy allows a possibility of atheism. Deleuze, who also called Spinoza an atheist, suggested a new viewpoint of the philosophy of Spinoza based on his attribution to the concept of 'power'. On the other hand, Deleuze reinterpreted Nietzsche, where he analyzed 'the will to power' in a totally inventive way. Likewise, the reciprocal communication of ideas connected by the concept of 'power' gives a foundation of identifying the two philosophers to Deleuze. In this paper, considering this reciprocal communication, I intent to reveal the foundation of identity of the two philosophers, Spinoza and Nietzsche, and as a result, investigate what the concept of identity means to Deleuze, the philosopher of difference. Furthermore, we will also take a look at how Deleuze presents a new perspective on the conflict on the existence of God of the two philosophers in the process of validating the identity.

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.138-147
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• 2012

Recently, significant tries appeared in the spatial design field were appreciated as tries to find crossing between space formation and discourse. This study is to find spatial clues from Gilles Deleuze, the modern philosopher's literature where he developed his discourse analyzing paintings of Francis Bacon, and reveal common characteristics with the contemporary spatial design. According to the analysis of Deleuze, Bacon's paintings are separated into frame-aplat, shape-figure, and contour-track. From these three elements, I extracted spatially analyzing languages of 'occurrence of shape-accident', 'space of track-sense', and 'interaction of aplat-background.' Then with these analyzing languages, I analyzed latest works of Rem Koolhaas. Deleuze Space Theory confirmed in works of Rem Koolhaas is the application of accident-focused occurred between the user and space, the space that induces accident, and differentiation between the user and space or space and site. As a result, I could confirm the common characteristic that both modern discourse and spatial design are understood as 'difference' from life and movement.

• Journal of Digital Convergence
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• v.18 no.12
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• pp.513-523
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• 2020

Gill Deleuze is a representative of poststructuralism philosophy who has reevaluated the senses and body. This research reinterprets modern fashion and its relationship with the body based on the core idea of Deleuze's body aesthetics - Body without organs. The results of this study are as follows. First, with the influence of intensity, the body without organs will form three types of body: full body without organs, empty body without organs and cancerous body without organs. Second, modern fashion can create new physical relationships by changing the way of dressing, thus forming the full body without organs. Third, in the empty body without organs, people replace the torture of the body through the destruction of clothing; and the indiscriminate design under egalitarianism will create the cancerous body without organs which full of negative meaning. Through these results, we can have a deeper understanding of the relationship between body and clothing, and apply it to creative expression.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.102-109
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• 2007

This is an analysis study about the pictorial frame of Georges Schwizgebel's animation "The Subject of Picture", focusing on Deleuze's frame theory. First of all, the shapes in the frame of the animation is the representation of the tactile sensation from the erased vestiges of the characters. It shows the metamorphosis of the erased vestiges of the shapes by Deleuze's sensibility theory. Besides, the layout of the animation's background has similar property with the aplat which was mentioned by Deleuze. It means that the background of the animation correspond to the aplat which is other boundary different from reality, and the character which has the minimum embodiment about the object makes the shape newly through the distortion of the shape. Secondly, as the problem of frames in terms of the continuity of time, the meaning in Schwizgebel's animation is created by the relation between each frame. It means that the depiction of the shape itself by the composition between each frame is composed of the frame. Eventually, Schwizgebel's work is the animation which has the characteristic of the modem cinema and is the crystal depiction that deviates from rules and logics of the object which was mentioned by Deleuze.