• Title, Summary, Keyword: Walter benjamin

Search Result 32, Processing Time 0.035 seconds

Digital Fashion Image Aura represented in the Burberry Instagram (버버리 인스타그램에 나타난 디지털 패션이미지 아우라)

  • Suh, Sungeun
    • Journal of the Korean Society of Costume
    • /
    • v.67 no.3
    • /
    • pp.115-132
    • /
    • 2017
  • This study recognizes the importance of the social network platform as a new fashion media, and analyzes the significance of various digital fashion images, based on the 'Aura' theory of Walter Benjamin. The concept of "Disappearance of Artistic Aura" can be summarized into three discussions: 1) the change in the way of artistic perception, which is changes in value from worship to exhibition. 2) the change in the way of artistic acceptance, from personal to mass. 3) the emergence of new artistic concepts such as camera and film. By reviewing characteristics of the $21^{st}$ digital replication era, the study tried to discover and evaluate the expanded significance of the 'Aura' represented on digital fashion images, which are infinitely generated, modified, reproduced, transmitted, and shared in social network environments. The 'Burberry Instagram' was chosen as the subject of the study. The study reviewed around 2,500 images, which were uploaded from February 2011 to July 2016, and selected 200 images deemed the most representative of Burberry, and categorized and analyzed by the extended concept of 'Aura'. The study results as follows: First, the 'Aura' in digital fashion image appearing on social network platforms signifies the expansion of product value in fashion, and it also represents inherited traditions and modernization of images. Second, it also signifies the democratization and globalization of fashion through the open replication and sharing as well as the interaction of criticism and acceptance. Third, it signifies the personalized taste and fashion as everyday lifestyle, through personalized services, securing playful space, and real-time updates.

Review on the Duplication of Modern Digital Art Works (현대 디지털 예술작품의 복제성에 대한 고찰)

  • Song, Dae-Sup;Ha, Im-Sung
    • Cartoon and Animation Studies
    • /
    • /
    • pp.205-218
    • /
    • 2009
  • The duplication of art works has been made for wide distribution and profit from long time ago. With material duplication due to recent development of digital duplication media its concept was intervened in art works and the meaning gets expanded more. In this thesis, I will review on the concept of recently marked arts duplication connecting with modern mass culture, compare with duplication of machinery duplication era and research on the features to establish in new way. After all, the duplicational features of digital art works got deeply connected with the characteristics of generalized modern digital mass culture for duplication. In previous times old-fashioned machinery duplication such as pictures, woodblock prints and films played their roles as democratic and social value of art works and now it will be enough to say that the modern digital art works could be developed to be non-materialized factor of art works with the concept of duplication as well as duplication of objects just like previous cases. Besides duplicational factors derived spatial and emotional effects with visional sympathy in existing machinery duplication era and could have verified that the object for duplication was transferred from minor commercial producers to major audience.

  • PDF

A Study on the Design Tendency of Contemporary Architecture Introducing New Media Art Concept - Focusing on the change for way of information transmission change and media development - (뉴 미디어 아트의 개념을 도입한 현대 건축의 디자인 경향에관한 연구 - 미디어 발전과 정보 전달 방식의 변화를 중심으로 -)

  • Cho, Kyoung-Soo;Woo, Ji-Chang
    • Korean Institute of Interior Design Journal
    • /
    • v.19 no.2
    • /
    • pp.66-72
    • /
    • 2010
  • The purpose of this study is to pronounce design trends in contemporary architecture collaborated with new media art concept. Currently, the prevalence of media presence has evolved perspectives on contemporary aesthetics today. To make clear demonstration on the issue, this study categorized new media art's expressional characteristics applied in the contemporary architectural design in conjunction with analytical researches on typologies and expressional characteristics appear in new media art. More specifically, the study selected architects who adopted new media art's expressional characteristics into their works from the year 2000 and performed analytical case studies with regard to the effect of the new media art into their architectural practices. By following methodologies mentioned above, conclusively the study categorized distinct expressional characteristics appears in contemporary architecture as a result of merging with new media art. The characteristics of the new media art appeared in contemporary architecture are categorized into three groups such as the design controlling external environment, the design utilizing web environment and the design participated by users. These observation could be translated that architects could present interactive design between users and building as a result from architect's capability of designing protocols which generate variable forms, colors and patterns in architecture. In particular, architecture utilizing web environment has characteristic capability of configurating user's program in virtual space. Also it is anticipated to suggest new patterns in generating architectural programs and forms. These patterns would not recognize the city merely as an incident or fragmented image but would configurate forms and images constructed by individual notional character. In conclusion, the architecture itself is expected to perform as media to open up opportunities that enables to contribute in expediting interactions among environment, users, and buildings by deviating from perspectives of representation as an object expressed in modernism architecture or as a classical decoration in post-modernism architecture in the past era.

Policing the Border: Is Kitsch Still the Antagonist of Art? (예술과 문화의 영역에 대한 재고 - 문화의 타자 키치, 아직도 예술의 적인가?)

  • Kim, Hee-Young
    • The Journal of Art Theory & Practice
    • /
    • no.5
    • /
    • pp.25-41
    • /
    • 2007
  • Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

  • PDF

A Study on Simulation -Analysis of the cinematic world of Oshii Mamoru (오시이 마모루 작품에 나타난 시뮬라시옹 연구)

  • Koh, Eun-Young
    • Archives of design research
    • /
    • v.18 no.2
    • /
    • pp.101-110
    • /
    • 2005
  • Simulacre is one of the major topics in the Western philosophy since Plato. Since the 20th century, the Western philosophy is based on rationalism toward 'absolute truth' founded on Platonic Ideas. The concept of Simulacre is ignored and rejected until the modern days. However, Simulacre is gaining its attention at this time of image. and the time of Simulacre. The concept of postmodern Simulacre started from Walter Benjamin is developed by Gnther Anders, Jacques Derrida, Gilles Deleuze, and Jean Baudrillard. This study, based on the Jean Baudrillard's concept of Simulacre, examines today's Simulacre phenomena and analyzes the cinematic works of Oshii Mamoru who displays the concept of Simulacre in his films. Analyzing and evaluating his recent visual works based on Simulacre theory with such superficial methods as advanced special visual effects is a mistake that demeans Simulation? (Matrix). Today, Simulacre phenomena are scattered all over our life. The search of its substance and the analysis of his artworks will be a foundation that makes a new alternative suggestion.

  • PDF

Incidence and Predictors of Hand-Arm Musculoskeletal Complaints among Vibration-exposed African Cassava and Corn Millers

  • Mbutshu, Lukuke Hendrick;Malonga, Kaj Francoise;Ngatu, Nlandu Roger;Kanbara, Sakiko;Longo-Mbenza, Benjamin;Suganuma, Narufumi
    • Safety and Health at Work
    • /
    • v.5 no.3
    • /
    • pp.131-135
    • /
    • 2014
  • Background: Cassava and corn milling is a growing small-scale enterprise in Africa. We aimed to determine the incidence of hand-arm musculoskeletal complaints among vibration-exposed Congolese cassava and corn millers in the previous 12 months. Methods: A cross-sectional study was conducted, prior to a follow-up study, from March to May 2013 among cassava/corn millers in Lubumbashi, Democratic Republic of Congo, in which 365 millers age-matched to 365 civil workers anonymously answered a questionnaire. Results: Overall incidence of hand-arm musculoskeletal complaints was 25.8% in millers (vs. 5.2% in civil workers; p < 0.001). The risk of experiencing musculoskeletal symptoms was seven times higher in millers [vs. civil workers; odds ratio (OR) = 7.10; 95% confidence interval (CI): 4.03-12.50; p < 0.0001]; 2.4 times higher in smoking millers (vs. smoking civil office workers; OR = 2.36; 95% CI: 1.42-3.88; p < 0.001); 3.6 times higher in millers with longer daily exposure (> 8 hours; vs. those working ${\leq}8$ hours; OR = 3.56; 95% CI: 1.93-3.61; p = 0.026); and 7.4 times higher in young millers (vs. older millers, OR = 7.39; 95% CI: 1.29-75.52; p < 0.001). Smoking, number of cigarettes, and daily exposure duration were positively correlated with musculoskeletal complaints. Conclusion: This study revealed a relatively high incidence of musculoskeletal complaints among African cassava and corn millers. The use of anti-vibration protective equipment and the regulation of this hazardous occupation may reduce the burden of musculoskeletal disorders in millers.

Vietnamese Health Care Providers' Preferences Regarding Recommendation of HPV Vaccines

  • Asiedu, Gladys B;Breitkopf, Carmen Radecki;Kremers, Walter K;Ngo, Quang V;Nguyen, Nguyen V;Barenberg, Benjamin J;Tran, Vinh D;Dinh, Tri A
    • Asian Pacific Journal of Cancer Prevention
    • /
    • v.16 no.12
    • /
    • pp.4895-4900
    • /
    • 2015
  • Physician recommendation is an important predictor of HPV vaccine acceptance; however, physician willingness and preferences regarding HPV vaccination may be influenced by factors including patient age, vaccine type, and cost. A cross-sectional survey was administered to a convenience sample of health care providers in Da Nang, Vietnam, to evaluate awareness, perceptions about HPV and HPV vaccines, and willingness to vaccinate a female patient. Willingness to vaccinate was evaluated using a full-factorial presentation of scenarios featuring the following factors: vaccine cost (free vs 1,000,000 VND), patient age (12, 16, or 22 years), and HPV vaccine type (bivalent vs quadrivalent). Responses from 244 providers were analyzed; providers had a mean age of $34{\pm}11.9$ years; a majority were female, married, and had children of their own. Thirty-six percent specialized in obstetrics/gynecology and 24% were providers in family medicine. Of the three factors considered in conjoint analysis, vaccine cost was the most important factor in willingness to vaccinate, followed by patient age, and vaccine type. The most favorable scenario for vaccinating a female patient was when the vaccine was free, the patient was 22 years of age, and the HPV4 vaccine was described. In multivariable analysis, older age, being a physician, being married, and having children were all associated with increased willingness to recommend HPV vaccination (p<0.05). Provider willingness is an important aspect of successful HPV vaccination programs; identifying preferences and biases in recommendation patterns will highlight potential areas for education and intervention.

Ambivalence in "Hy$\breve{o}$nsil kwa Par$\breve{o}$n"'s Relationsip to Industrial Society, Mass Culture, and the City (산업사회, 대중문화, 도시에 대한 '현실과 발언'의 양가적 태도)

  • Shin, Chunghoon
    • The Journal of Art Theory & Practice
    • /
    • no.16
    • /
    • pp.41-69
    • /
    • 2013
  • The inauguration of the collective Reality and Utterance (Hy$\breve{o}$nsil kwa Par$\breve{o}$n) in 1979 and 1980 marked a watershed moment in Korean art. This is not only because the collective gave birth to the politically-engaged art movement that would come to be labeled "Minjung Art" by the middle of the 80s, but also because it enthusiastically embraced a wide range of images from the urban culture. With a special focus on the members' early work, my research explores an issue largely neglected in the dominant narrative of Minjung art as a form of activism against the authoritarian Korean government during the 80s. The issue is what was at stake in Reality and Utterance's exploration of contemporary urban visual culture. The aim of this essay is to recognize the engagement with the urban visual culture as central to the group's early project and to consider it at some distance from the anti-urban and anti-mass culture perspective which was endorsed by the Minjung narrative. Focusing on members' turn to urban visual culture, this essay instead argues that this turn was by no means merely a means to making art as social critique, but more importantly, it was an experiment with the shared image world, as opposed to the rarefied visual vocabularies of abstract modernism. Visual productions such as advertisements, billboards, posters, and kitsch paintings, which come from outside the narrow confines of fine art, were definitely ominous signs of the colonization of everyday life in the capitalist city, but at the same time they were anticipated to be a catalyst for redefining Korean art in a more communicative, accessible, and democratized way. In this regard, in the early 1980s-in particular 1980 and 1982-the members' gesture oscillated between critique and embrace, which allowed the group to occupy a unique domain in the realm of Korean art production.

  • PDF

The Objectivity and Subversive Appropriation of the Designs by Kuma Kengo (쿠마 켄고 디자인의 객체성과 전복적 전유)

  • Park, Young-Tae
    • Korean Institute of Interior Design Journal
    • /
    • v.24 no.1
    • /
    • pp.12-22
    • /
    • 2015
  • When it comes to the architecture design, Kuma Kengo rejects a strong and violent subject-centered position and advocates the design that is object-oriented. As can be seen in 'gentle architecture', 'three lows principle', 'natural architecture', and 'connecting architecture', he clearly expresses the objective nature of architecture design in those terms. In this respect, the purpose of this study is to make a close inquiry into the meaning, effect and characteristics of objectivity. In particular, we try to identify the contents of 'impure architecture', which has a clear ambivalence to be an instrumental expression strongly settled in the objectivity, in an aesthetic standpoint. To do that, we systemized the concept of mimesis and the theory of subversive appropriation by Walter Benjamin and Theodor Adorno in to a frame of interpretation. By systemizing translation, subversion, verbalization and the dialectic structure of the aesthetics of negation, we interpreted the features of his works as an objective work and 'impure architecture'. His objectivity leads the situation by subversively appropriating the inherent elements of architectural conditions based on a dialectic solution in which inquiries on logical and scientific materials have played a critical role. Above all, through all these processes, he tried to suggest a language as a new technique for materials and structures. Ultimately, we could find out that this object oriented design sublates a subject oriented way that is monolithic and repetitive regardless of objects. Rather, it is a way that is effective in creating a new way of design by making a different approach to a new object rather unfamiliarly, yet deeply.

Photography's educational study : Against practical-based curriculum in photography education (사진의 교육적 연구 : 실기 중심 교육과정에 반하여)

  • Nam, Tack-Oon
    • Journal of Digital Convergence
    • /
    • v.14 no.2
    • /
    • pp.359-367
    • /
    • 2016
  • This paper aims to develop the photography education method based, not on the practical technique, the photo recording or the communication, but on the photo theory and the visual culture. This paper can be summarized as follows: First, it analyses the photo theory itself and photography education theory. It examines the studies of the important scholars of photography theory, namely Laszlo Moholy-Nagy, Walter Benjamin, Susan Sontag. It examines also the studies of the scholars who applied photography to education, that is, Victor Burgin, Simon Watney, David Bate. This paper examines how photography is related to education theory in general and where photo education can be situated in art education field.