• Journal of the Korean housing association
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• v.20 no.4
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• pp.143-151
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• 2009

The purpose of this study is to analyze the characteristics of the non-sedentary in contemporary multi-housing planning through the understanding and interpretation of the modern nomadic life. A document research method was used to analyze and classified the spatial characteristics and development of the non-sedentary dwelling spaces since 1980. Finally, today the applicable cases of non-sedentary space are as follows; the sharing housing, the adapting housing, and temporary housing for the multi-purpose spaces, huge spaces and the industrialization housing. First of all, in order to conform the concept of nomadism, the theory and characteristics were divided into three aspects; The concept of thought of lines, events and Rhisome, and the spatial characteristics of fluidity, multiplicity and the non-hierarchy, that is mainly based on the philosophy of Gilles Deleuze. This study attempted to analyze how the concept of non-sedentary dwelling space has been developed in what form and method they have been applied and interpreted in the historical background. It attempted to resolve the concept of movement and mobility through the experiment so that they might apply to the space of contemporary city.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.162-170
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• 2013

Although vision has been considered as a top sensory organ in the Western culture until modern times, the significance of space experience that communicates with a body via complex perceptions has recently garnered attention. This study criticizes the limitations of a vision-centered space and has the goal of empirically examining the sensibility characteristics in a haptic space through post-structuralism views leading up to Gilles Deleuze's philosophical ideas. This study will explore the flow of senses from the philosophical and artistic standpoint and the sensibility characteristics in a haptic space by examining the theories on haptic perceptions in connection with a space. In order to test the existing theories and identify the differences in sensibilities depending on perceptual method, the sensibilities of participants were compared using SD method (Semantic Differential scale method) and a validity test was conducted using a statistical program SPSS. The research has revealed that the average sensitivity scale of complex haptic perception was higher than single perception that only relies on vision. In addition, there was a correlation between perceptual method based on various sensory organs and human sensitivities. This study is meaningful in that it can serve a foundation for empirical research on sensibility, since it has reexamined the relationship between space and participants and demonstrated and analyzed their sensitivities through an experiment.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.58-66
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• 2012

In the modern era, perceived as the century of culture, the pure meaning of information in various medium is becoming extinct and the distinction between media and reality being faded away. Such phenomenon is called "simulracre". Gilles Deleuze defines "simulracre" as an event that passes by momentarily. To the modern people, the museum should be sublimated into a space that reflects not only the various surroundings but also education and should be a space that can provide diverse experiences. For museum exhibit communication, storytelling is a method that can meet the need of audience and take one step forward in educational and emotion aspect. Considering such relationship, "event" can be an evidence to build a space by establishing relations with subject and determine the meaning of space. First, characteristics of event and requisite and the theoretical view of storytelling will be examined, followed by the analysis of event storytelling by selecting Holocaust Museum which attempted a new approach that has dealt with what is important to the Jews: 'holocaust'. The purpose of this study is to identify how "event", not remaining as an abstract term, is being present in Holocaust Museum with a new spatial perspective, and to provide the public with a different set of thinking and experience.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.7
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• pp.1052-1063
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• 2007

This study focuses on the analysis of body images appearing in the fashion illustrations since the 1990's and thereby attempts to determine relationship between their expressional features and aesthetic values in reference to theory of post-structuralism. Especially among numerous post-structuralist, Michel Foucault, Gilles Deleuze/Felix Guattari, and Julia Kristeva set unique arguments on body, which provide valuable leads to decipher the image of body. For that reason, body images shown in the fashion illustration are categorized into grotesque body, fragmented body, humanoid body, and post-gendered body, and reviewed their characteristics and aesthetic values based on critics of above three scholars. Findings are summarized as follows: First, image of body entails meaning of an resistance of traditional social concepts and order, and second it serves the purpose of creating a new and unique sense. Finally, it is not an object of representation of physical facts, but rather a representation of the real itself, apart from presenting the original material. Given arguments enhance understanding of images of body in fashion illustration in a broader sense.

• Journal of Korea Game Society
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• v.21 no.3
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• pp.25-38
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• 2021

This study examines the possibility of development into a place of existential human meaning and the process of formation of placeness based on the Simulacre theory of digital game space. First of all, the game space related to humans was reinterpreted into the Simulacra theory of Plato, Jean Baudrillard, and Gilles Deleuze, and typified into three simulacra of spaces. The formation process of placeness in the game space is presented by linking the simulacra of space, place theory, and the user's game experience that were reinterpreted. It is hoped that this will contribute to exploring the aspect of the placeness of digital game spaces for authentic experiences of various media.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.497-515
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• 2009

Culture as a source of identity, as Edward Said says, can be a battleground on which various political and ideological causes engage one another. It is not mere individual cultivation or private possession, but a program for social cohesion. Sensitively aware that a national culture should be independent from Europe, Walt Whitman enacts a new form of literature by placing different cultural values against Old World tradition. His interest in autochthonous culture originates from his deep concern about national consciousness. He believes that literary taste directed toward highly-ornamented elite culture is an obstacle to cultural unification of a nation. In order to represent American culture of the common people, Whitman incorporates a lot of cultural material into his poetry. Since he believes that America has many respectable writers at home, he urges people to adjust to their own taste instead of running after foreign authors. Whitman differentiated his poetry from previous literary models by disrupting the established literary norms and reconfiguring cultural values on the basis of American ways of life. In his comment on other poets, he concentrates on the originality and nativity of poetry. By claiming that words have characteristics of nativity, independence, and individuality, he envisions American literature to be distinguished from British literature in literary materials as well as in language. Whitman s language is composed of a vast number of words that can fully portray the nation. He works over language materials in two ways: reterritorialization and deterritorialization. Not only does his literary language become subversive of the established literary language, but also makes it possible to express strength and intensity in feeling.

• The Journal of Art Theory & Practice
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• no.9
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• pp.33-57
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• 2010

Focused on the performance of interactivity in the appreciation of media art, this study is associated with the continually changed art texts and a participator's physical reactions to savor the art. Digital works of art emphasizing interactivity usually decentralize and disperse the responsibility and the central role for creating and producing the art works. Proper procedure of the work is generated by actions such as clicking the mouse, controlling the joy stick or actual movement of anticipators' bodies. The art works are influenced by participators' interactivity, which makes the leading roles and the responsibility for creating art scattered and divided. These features are similar with those of the 'Rhizome' which Gilles Deleuze(1925~1995) and Felix Guattari(1930~1992) have discussed. In their argument, 'Rhizome' is an interval or being 'between', which keeps changing. 'Rhizome' is a state in which the individual and the work of art never reach the conclusion, only a phenomenon of eternally altering. Like 'Rhizome', this sort of art work has the decentralized system, opens for several directions, and activates the system which is changeable as linked items increased or decreased. These works stimulate the individual to perform and act while appreciating the art piece. In terms of processing and preceeding, interactivity is the important equipment and catalyzer. Through these procedures, the pieces can be the 'floating work of art' combined and condensed with the whole participators' reactions. The 'floating work of art' is neither the expression of an individual nor that of one particular group. Multidimensional influence of the web is the web which is constantly reorganizing and producing in its connective state. This connective state is activated by interactivity. The Rhizomatic system embodies the floating work of art process. Due to each individual perceiving art in individualistic terms, there is no dominating powers or central points. I regard this art works possessing above traits as the work of art with Rhizomatic system. The work of art with the Rhizomatic system is embodied through interactivity and because physical action activates the process of appreciation, a participator can actually experience and practice the philosophy. Ultimately the Rhizomatic speculation occurs during the interactivity of appreciating the Rhizomatic art pieces. The Rhizomatic system penetrates into the intuitive area beyond our recognition and thoughts, as we are engaged in the connective process. With the methods and manners of interactive art, we can possibly reconsider the system as a tool in which the participator is directly able to link experience and theory to the philosophies of Deleuze and Guattari.

• Cartoon and Animation Studies
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• s.51
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• pp.391-411
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• 2018

The purpose of this thesis is to examine ontology of digital photo image based on a Simulacre concept of Gilles Deleuze & Jean Baudrillard. Traditionally, analog image follows the logic of reproduction with a similarity with original target. Therefore, visual reality of analog image is illuminated, interpreted, and described in a subjective viewpoint, but does not deviate from the interpreted reality. However, digital image does not exist physically but exists as information that is made of mathematical data, a digital algorithm. This digital image is that newness of every reproduction, that is, essence of subject 'once existing there' does not exist anymore, and does not instruct or reproduce an outside target. Therefore, digital image does not have the similarity and does not keep the index instruction ability anymore. It means that this digital image is converted into a virtual area, and this is not reproduction of already existing but display of not existing yet. This not-being of digital image changes understanding of reality, existence, and imagination. Now, dividing it into reality and imagination itself is meaningless, and this does not make digital image with technical improvement but is a new image that is basically completely different from existing image. Eventually, digital image of the day passes step to visualize an existent target, nonexistent things have been visualized, and reality operates virtually. It means that digital image does not reproduce our reality but reproduces other reality realistically. In other words, it is a virtual reproduction producing an image that is not related to a target, that is to say Simulacre. In the virtually simulated world, reality has an infinite possibility, and it is not a picture of the past and present and has a possibility as the infinite virtual that is not fixed, is infinitely mutable, and is not actualized yet.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.2
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• pp.1-11
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• 2003

The purpose of this study is to investigate how five winning design proposals for the Seoul City Hall Plaza Design Competition have shown the spatial characteristics by comparing and reviewing them. Each design proposal shown different approaches that reveal the spatial characteristics. Through scrutinizing these design proposals, some similar and different aspects among them were identified. In order to examine these aspects, the winning design proposals were analysed and compared based on five categories such as design concepts, main facilities, representation of historical images, spatial connection, and event programs. Gilles Deleuze explained the spatial characteristics as striated space and smooth space. Striated space could be defined as sedentary space. It is distant vision-optical space that has dimensional, metric, and centered characteristics, whereas smooth space is defined as nomadic, close vision-haptic space that has directional and acentered characteristics. This study focused on the analysis of spatial characteristics according to smooth space and striated space. Based on the analysis of the spatial characteristics according to the smooth and striated space, some design proposals shown more characteristics of striated space while other proposals shown more characteristics of smooth space. Those design proposals that shown more characteristics of smooth space reveal flexible or changeable shape and void space, whereas the others that shown more characteristics of striated space try to suggest apparent guidelines for the future use by retaining the idea of a plaza through the concrete shape. This study, which analyzed the winning design proposals based on the spatial characteristics according to the smooth and striated space, can be used to analyze the designs and could help to develop a new methodology with a different perspective. furthermore, it could provide practical and creative design strategies for landscape design.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.874-885
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• 2013

This study analyzes the visage in fashion illustration based on the deconstructed visage of Francis Bacon's paintings as well as analyzes fashion illustration works since 2000. The deconstructed visages in Francis Bacon's paintings are classified as blurring, elimination, distortion and division. The expressive methods and meanings in fashion illustration (according to categorization) are as follow. Blurring shows an ambiguous visage organ by the sweeping of the brush, removal of a boundary among the visage, body and clothes, gradation of organic line like visage shapes, stretching of the a plat combined to visage and fragmentation of visage. It represents an uncertainty of the fashion theme and image interpretation, impossibility of figure by ambiguity, fantastic effect and the induction of the uncanny. Elimination shows the background color's painting of a photo-montage, overlap of a cutting of visage's part and background of a plat, elimination of the visage and the elimination of eyes, nose or lips. It represents a weakened identity, the reinforcement of anonymity, creation of a violent image, and uncanny unfamiliarity. Distortion shows a distorted visage by free drawing, and unconscious drawing line, fluid digital body, combination of an unconscious curve, and an eccentric combination of the accidental. It represents the relief of specialty about realistic existence, hypothetical immateriality and fantasy. Division shows overlapped visages with different angles, the weird combination of a plural visage and different species and a plural breakaway of direction, and the position of several organs. It represents motion by power's trace, non-territory of species, ambiguity and uncertainty and the uncanny.