• Korean Educational Research Journal
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• v.43 no.1
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• pp.183-213
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• 2022

The purpose of this study is to examine the implications of Deleuze and Guattari's Machinism and Pedagogy of Assemblages. A slow, empirical process offered by Deleuze and Guattari is possible only if they experience a repetition of the duration in time. The identity of this world, a combination of potential and reality, is expressed as a machine. The identity of the 'machine' is the generation. The identity of the information society that exists everywhere in the cloud and unconsciously collects big data is also the information society. The information society is at risk of leaning toward a society in which individual desires are managed prior to the manifestation of a self-reliance a machine consisting of unmarked and mechanical arrangements. Social science based on the theory of layout shares the characteristics of repetition patterns, coexistence of linguistic and materiality, attention to boundary and negation to total whole. The pedagogy of layout, in which the collective pattern is structurally deformed in time, conforms to the original problem consciousness of Deleuze and Guattari, slow and empirical education. In addition, the work of examining the materiality and expression of the education-machine will contribute to the establishment of a new learning theory, an educational theory in the era of trans-human.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.253-260
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• 2009

Gold stock could include the U.K. in the European economy by the alternative plan of the problems that it was occurred while nationalizing industry and a company for economic recovery and national profit after the World War Ⅱ and it was wide and came to open in the country of European most. However, the negation was sentenced to it for the reason of the gold stock which the U.K. adopted in European many countries infringing "freedom of the capital movement" at a European court of law. However, I consider gold stock positively to protect it from hostile M&A of the company of the national strategy from the Middle East and an Asian national rich fund recently in France and Germany. If our country looks straight at reality, Urstatut or the agreement of the majority stockholder have a very strict matter assuming the protection of the existing shareholder and must be able to gain the favor if you look by the flow of such world economy.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.68-80
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• 2013

This study is about expressive aspects of subversive mimesis found in architectural design under 2nd Modernity. Architectural works under 2nd Modernity are described based on pseudo-scientific positivism and philosophical ontology of Deleuze. However, subversiveness found in works of arts by architects such as Rem Koolhaas present a few complexities to relay on such a description. This is about 'subversiveness' which absorbs the positive and negative factors of modernity which has been multi-layered as 'cultural capital'. This study aims to identify meta-phenomenon as well as the specific correlations between expression and purposes of any work of art that is presented in the form of subversiveness. To achieve this aim, this study approached with the concepts of appropriation and detournment based on Adorno's subversive mimesis concept. Meta-phenomena of architectural design methods occur from relations of three, which are social reality, artist, and work of art. This was connected to productivity of mimesis practice of self-reference and self-examination, which was then, summed up from the perspectives of appropriation in pure arts and d$\acute{e}$tournment of situationalists. Based on this work, subversive expressive characteristics of architecture under 2nd Modernity were framed from the perspectives of the absorption of cultural capital, reflection and negation, autonomy, instrumentality, and meta properties. In this way, this study found that Adorno's subversiveness should be effective for creative and methodological systemization in terms of interpretation of cognition, practice, and effect after materialization.

• Journal of architectural history
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• v.15 no.4
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.