• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.146-156
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• 2012

Film was invented by human's desire to copy the real world, starting in the late 19th century. Since the birth of cinema, It was given mission to replay of the real world. On the other hand, cinema was regarded as a fictitious art form. Although the invention of film brought about experience of replaying of the real world it has been reproduced reality with creative story. And it also has been represent reality with sense of reality. Cinema's way of reproduction implied conflicting concept of mimesis. Triple Mimesis of Paul Ricoeur was an idea expanded into an analytical concept from that simple concept of mimesis. The purpose of this study was to examine the prefiguration of shown behavior in Columbine High School massacre based on Triple Mimesis of Paul Ricoeur. It also was to examine a form of representation on cinema which is 'Elephant' and studied how the form of representation on Elephant could interpret by audience. It could be define the relationship between reality and reproduction through this esthetic study. This paper attempted to build the method communication between the originator and audience with a whole analytic process of time and story on the cinematic representation.

• Journal of Korea Multimedia Society
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• v.17 no.3
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• pp.373-384
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• 2014

Humankind longed for an image like the sense of sight and has developed history of image on the basis of the will toward record and reproduction. A long period of time was required for accumulation of technology for reproduction of an object, but directing point has always been impression experienced by the 'eyes.' But it has not all been pointing in the realistic image. This study aimed to discuss about its process and directing point of the paradigm of image creation that has been continued together with progress of humankind based on the academic outcomes achieved by Platon. 'Mimesis' classified by Plato required techne how far it may be distant from 'Idea.' Techne went forward in the direction of securing rationality according to accumulation of civilization in the end and reality, the history of mimesis was the process toward 'realistic image' and 'fantastic image'.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.38-50
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• 2009

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in 2000s fashion. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for 2000s fashion. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the similarity and the representation mimesis, the symbol mimesis and the abstraction mimesis. In fashion, the representation mimesis included a natural and a folk, a period that of 1900s and ancient representation mimesis. The symbol mimesis included psychology and fear symbol mimesis. The abstraction mimesis included hard color, a geometric simplification and distortion mimesis. Analysis on the mimesis expressed in 2000s modern fashion may provide an excellent method for understanding human aesthetic in costume.

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.1-17
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• 2011

Ever since Homeros in Greece, Mimesis was thought to be an art that imitates nature, especially the classicism of nature. Mimetic theories were used in the artworks in the era of the Renaissance, and the terminology 'mimesis' replaced the idea of originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in Online video game apparel design. For this purpose, I researched different theories of 'mimesis' and applied them to Online video game apparel designs. The research was conducted using various books on aesthetics and fashion, and demonstrative studies were processed by analyzing photos from Internet video game websites. In the history of aesthetics, the term mimesis is divided into three categories: external, internal and multiple mimesis. External mimesis represented the historical point of view in the design, which showed the beauty of the ancient times. Internal mimesis displayed the metaphorical symbols of religion, character, psychology, sexuality and fear. Multiple mimesis was the hybrid and the distortion of the different aspects of mimesis. Applying this research on mimesis and expressing them in Online video game design may be an excellent method for understanding human aesthetics in video game apparels.

• Journal of Korean Philosophical Society
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• no.116
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• pp.105-128
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• 2017

The main purpose of this study was to explore the possibility of the mimetic reconstruction of artistic space through works of Hwang, Jai Hyoun. His work shows a new world that is not reduced to his life and experiences. But his work has drawn the world with an unpredictable way. This world I call artistic space, and try to interpret the processes that space is created by mimesis. To this end, I first suggest a way to communicate with his work at the intersection of light and darkness(2). I also look at the inside and outside of his art space restructured with mimetic reactions(3). Then I finally critically discuss the artistic space that has time(4), and then get out of the way(5).

• The Korean Publising Journal, Monthly
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• s.154
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• pp.6-7
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• 1994

소크라테스는 진리를 언어 밖에서 찾으라고 말했다. 플라톤은 언어를 어떤 모방의 형식이라고 생각했다. 미메시스 개념에 기초한 언어관 때문이다. 따라서 그들에 의하면, 책이란 진리의 시체 통조림이자 영혼을 망쳐놓는 흉물에 불과하다. 그러나 아리스토텔레스의 "오르가논"은 언어를 상징의 형식으로 이해하면서 책을 진리의 잔치마당으로 여긴다.

• Korean Journal of Cognitive Science
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• v.25 no.4
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• pp.343-384
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• 2014

In order to unravel the problems of the mind, today's cognitive science has expanded its perspective from the narrow framework of the past computer model or neuronal network model to the wider frameworks of interaction with the brain in interaction with the body in interaction with their environments. The theories of 'the extended mind', 'embodied mind', or 'enactive mind' appeared through such processes are working on a way to move into the environments while the problem to unravel the complex process of interactions between the mind, the body and the environments are left alone. This problem can be traced back as far as to Gibson and Maturana & Varela who tried at first to unravel the problem of the mind in terms of interaction between the brain, the body and there environments in 1960~70s. It's because Gibson stressed the importance of the 'affordance' provided by the environment while Maturana & Varela emphasized the 'autonomy' of auto-poiesis of life. However, it will be proper to say that there are invariants in the affordances provided by the environment as well as the autonomy of life in the state of structural coupling of the environment's variants and life's openness toward the environment. In this case, the confrontational points between Gibson and Maturana & Varela will be resolved. In this article, I propose Benjamin's theory of mimesis as a mediator of both theories. Because Benjamin's concept of mimesis has the process of making a constellation of the embodiment of the affordance and the enaction of new affordance into the environment at the same time, Gibson's concept of the affordance and Maturana & Varela's concept of embodiment and enaction will be so smoothly interconnected to circulate through the medium of Benjamin's concept of mimesis.

• Korean Architects
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• s.514
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• pp.60-63
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• 2012

• Korean journal of communication and information
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• v.66
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• pp.87-109
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• 2014

The purpose of this study is to investigate public art in Mullae art Village based on Adorno's Mimesis and explore a wide range of possibilities of new genre of public art. This study found out the new possibility of not only artist network, but also networks of local villagers and iron factory workers, and considered in-depth analysis of new genre public art in Mullae art village focusing on their active participations in art programs. By analyzing the artists' stories through interviews, low-cost rental accommodation brought a influx of artists into the village, and they formed their artist networks working by themselves. At this point, this could be judged a critical phenomenon in accordance with Adorno's mimesis. However, by external pressures such as government policies for setting up Mullae Art factory or downtown redevelopment, artists sought independent role in Mullae-dong and doing active public art programs grounded on mimesis. Artists were seeking a way to cope with the economy mechanism doing new genre of public art based on mimesis, and found out the possibility of formation of relationships with local residents and iron factory workers. This study was seemed to suggest the direction of new genre of public art through Mullae art village case, and considers new political measure plans for culture and art policy.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.85-96
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• 2013

This study relates to meta-phenomena in architectural design. Among others, this study aims to interpret and demonstrate the cognitive thoughts and methodological systems in 'autonomy and instrumentality' presented in works of art by positivist architects focusing on diagrams after the second modernity in addition to earlier formal experiments by John Hejduk, Peter Eisenman, Bernard Tschumi, and Daniel Libeskind. In order to achieve these aims, this study approached the mimetic concepts developed by Walter Benjamin and Theodor Adorno. Especially, meta-phenomena in the methods of architectural design were connected to productivity in Adorno's mimetic concepts. Also, in terms of formation and creation of works of art, the mimetic backgrounds of Adorno's theories on aesthetics were identified from features of concepts on the part of formal experiments. The results were systemized methodologically based on meta-phenomena appearing in pure arts and overall architectural design. These were presented as a framework to interpret 'autonomy and instrumentality' that exist in the working of negativity and mimesis. In this way, logics and intuition in architectural design as well as methodological systemization of convergent creativity were proved valid. In conclusion, Adorno's mimetic concepts systemized based on negativity and critical awareness may lead to new concepts. It has been proved that it is valid for security of meta-phenomena of architectural design as a production of autonomous spaces for differences and creation.