• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.215-222
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• 2021

Duchamp chose readymades mainly for his denial of retinal painting and his desire and fluid thinking for changes inside him. His thinking is well presented in his readymade works. One of his early readymades, Bicycle Wheel, expresses correlations between beings and capital. Its essence is capital and the desire of beings. It is connected to Desire or Desire-Machine proposed as a social reform and creation model by Gilles Deleuze and Félix Guattari. Bicycle Wheel does not simply end in desire relations between capital and beings, though. When the desire of beings is converted into positive desire, it can keep inventing and creating something that is repetitive, fluid, and new. Duchamp tried to convey this positive desire through his readymade Fountain. Duchamp created a ready-made article toilet into a work of art in Fountain, being driven by desire flowing inside him. This is connected to the attributes of nomads that refused to settle down and continue to flow in search of new landscapes. This way of his thinking is clearly reflected in his Box in a Valise. He was motivated to create this work by his fluid thinking. In this work, various situations can unfold often according to the directions of two elements, place and arrangement. Here, place guarantees fluidity, and arrangement variability or desire. According to Gilles Deleuze and Félix Guattari, fluidity represents nomads with the characteristics of flow and variation, and desire represents productivity or production or creation. Box in a Valise represents nomads themselves. The nomads defined by Gilles Deleuze and Félix Guattari keep flowing and create a new world. They are in line with the thinking of Duchamp that refused to settle down at one place and escape from the old order to create a new artistic world. This type of nomads can be called revolutionists or creators that acknowledge differences and create. Nomads also contain the concept of resistance to the old order. Deleuze and Guattari proposed a war machine as a model of this resistance. Duchamp and his readymades can thus be called war machines.

• Journal of Digital Convergence
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• v.15 no.11
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• pp.441-446
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• 2017

As mentioned on the paper, this study does not tackle the issue of contention about different media mix. It rather analyzes the capability and intensity of new media created through the correlation of different media, and researches the intermediality relationship among media to create new type of fine quality media. Along with the development of digital technology, the intermediality relationship among painting, video media such as movie and animation has become active. Also, as the study examined, the mix of 'painting and movie', 'movie, animation, game' has blurred the boundary, and formed a mutual inevitable relationship. Thus, this study examined the transfer of media and correlation based on intermediality relationship insisted by Rajewski and Deleuze's theory. Deleuze's theory explains the relationship of being which analyzed the variation of media. As for the intermediality relationship of media, the study examined process of media combining and converting based on 3 types of category of Rajewski, "media combination, media conversion, intermedial relationship matching".

• 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.

• Journal of The Korean Association For Science Education
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• v.43 no.4
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• pp.369-387
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• 2023

This study aims to interpret the experience of science research in a graduate school laboratory from the perspective of Gilles Deleuze's concepts of "agencement" and "becoming". The research was conducted as an autobiographical narrative inquiry. The research text is written in a way that tells the story of my science research experience and retells it from the perspective of Gilles Deleuze. In Deleuze's view, science research is a constantly flowing agencement. The science research agencement is composed of a mechanical agencement of various experimental tools-machines and researcher-machines as well as a collective agencement of speech acts such as biological knowledge, experiment protocols, and laboratory rules. Furthermore, science research agencement is fluid as events occur all over the agencement. Data, as a change occurring in the material dimension, is an event and sign that raises problems. It has the agency to influence agencement through an intersubjective relationship with researchers, and the meaning of data is generated in this process. The change of agencement compelled me to perform science practice. I have performed repeated science practice, meaning that my body has constantly been connected to other machines. As a result of this connection, my body has been affected, and the capacity of my body that constitutes the agencement has been augmented. In addition, I was able to be deterritorialized from the existing science research agencement and reterritorialized in a new science research agencement with data. This process of differentiation allowed me to becoming-scientist. In sum, this study provides implications for science practice-oriented education by exploring the process of becoming-scientist based on my science research experience.

• Archives of design research
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• v.19 no.2 s.64
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• pp.273-282
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• 2006

The earlier animations aimed to express the characters realistically by making the illustrations look like moving and alive. Since then, animations have been influenced by development of media technology, men's changed mentality and evolvement of diverse social phenomena, while influencing them, too. Among them, the computer which emerged first in 1946 has sewed to more diversify the tools for realistic expressions of animations, and further, enhance the intellectual power of expression media only to expand the new visual expressions and thereby, usher in a multi-media video information environment. Moreover, this technology or computer has urged every discipline to disintegrate its conventional order for the post-modernism characterized by polysemous, diversified, obscure and sometimes, mutually contradicting elements, and as a result, animations had to find a new breakthrough in the conventional reality (cognitive and reflective reality). Thus, animations have been real enough to be perceived impromptu and emotionally, faster than the logical cognitive process beyond the simple technological barrier or the screen image processing. With such backgrounds in mind and by defining such a reality as 'sensuous reality', this study aimed to apply Gilles Deleuze's, reality of space to animation films and interpret it.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.153-168
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• 2023

Non-representation creates difference and change that can be used as a creative design method that satisfies contradictory requirements for similarity and differentiation. This study drew upon the characteristics of the concept of non-representation expressed in contemporary art and architecture, in which Gilles Deleuze's philosophical thinking was reflected, and analyzed the non-representation depicted in contemporary fashion. The non-representation expressed in contemporary art and architecture is as follows. Non-representation of delaying becoming focuses on reverting to preexisting objects and redefining traditional meaning, thereby delaying the representation of latent meaning. Non-representation of non-becoming removes existing values and typical forms and expresses amorphousness. Non-representation of becoming by repetition or reiteration realizes the difference caused by the passage of time by repeating or overlapping shapes. Non-representation of becoming expresses the transformation of space by flowing through time rather than by actual movement. Non-representation in contemporary fashion shows the following expression characteristics. First, the non-representation of deferring becoming deconstructs the traditional values and forms of clothing and expresses designs by displacement or juxtaposition. Second, the non-representation of non-becoming is expressed concepts unrelated to the body and focus upon amorphous objects that do not become concretized forms. Third, generative non-representation by repetition and overlap expresses the possibility of change by overlapping clothing items or details expressed by repeating segmented objects. Fourth, generative non-representation by movement reproduces the meaning of space and time by moving the shape of the clothing or visually changing the surface of the material of clothing. As a result of the study, the non-representation shown in contemporary fashion aims for versatility to conform to social changes. This study provides new insight into the fashion design method by increasing the understanding of the cocnept of non-representation and showing its potential.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.47-60
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• 2010

The goal of this dissertation is to analyze various Romantic styles appearing in modern fashion based upon the 'Difference' theory developed by Gilles Deleuze. A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's theory and from his interpretations of paintings was developed. The characteristics that represent 'difference' in change of dress style are deformation and hybridization. They are derived from the Deleuze's interpretations of 'difference' represented in the paintings by Bacon. The aesthetic values of the Romantic style in the 19th century dress are subordination, sensuality, and maternity. And the formative characteristics of the Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to deformation and hybridization and the results are as follows: first, deformation caused by exaggeration or emphasis in the modern Romantic fashion creates changeability of the form, destruction of the 19th century style, volume, and ornamentation. Second, hybridization by combining heterogeneous characteristic between times and genders (for example, the 19th century and modern times or masculinity and femininity) frees body from the dress and changes the dress silhouettes and ornamentation. Thus totally new and different Romantic style is created. The Romantic style in modern fashion changed into the appropriate style to the modern society under various conditions such as designer's will, postmodernism, changes of femininity and technology. It can be said that this is an example of the Deleuze's 'becoming' theory.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• International journal of advanced smart convergence
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• v.13 no.1
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• pp.114-121
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• 2024

Deleuze and Guattari introduced the concept of minority groups resisting the majorit. Minority groups consist of individuals who are excluded and marginalized by the majority. They advocate for a society in which these individuals, through mutual solidarity, can escape prejudice and fixed ideologies and lead a dignified human life. In this context, through his novels featuring protagonists with disabilities, Stéphane aimed to create an ideal societal atmosphere. The characters with disabilities in the novels incessantly strive toward life goals, emphasizing the importance of the process of effort and progress, even if the ultimate goals are not achieved. The dedicated pursuit of goals and the journey toward them hold significance beyond the attainment of objectives. Such an attitude and approach toward life by minority individuals is deemed sufficient to challenge the power structures established by the majority. This narrative challenges the societal norm and power structures, which highlights the value and meaning found in the process of striving and progressing, and ultimately contributes to breaking down societal barriers and fostering a more inclusive and equitable society.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.527-548
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• 2019

For Deleuze, the frame is a closed system with numerous subsets of information. the frame can be defined by mathematics and physics. it is a geometric system of equilibrium and harmony with variables or coordinates. like paintings, Linear perspective represents a three-dimensional depth in a two-dimensional plane through vanishing points, horizontal lines in the frame. Linear perspective makes it possible to assume the infinity towards the vanishing point and the infinity towards the outside of the frame, the opposite of the vanishing point. Not only figures and lines in the drawing paper, but also the space between the figures and lines in the drawing paper was recognized. that is space, the 3rd dimension. with the centripetal force and centrifugal force of the frame, frame follow the physical rules of power and movement. de framing is against the dominant linear perspective and central tendency of the frame. The film contains four-dimensional time while reproducing three-dimensional space in two dimensions. It may be that the outside of the frame, or outside the field of view, contains thought, the fifth dimension.