• The Research Journal of the Costume Culture
• /
• v.26 no.4
• /
• pp.485-502
• /
• 2018

In this research, we conducted an empirical study using the theory of sociologist Jean Baudrillard to examine the phenomenon of contemporary people in Korea acquiring tattoos. The researcher classified the consumption behavior of modern society, as described by Baudrillard in The Consumer Society, into three keyword phrases: consumption by personal taste, coded consumption, and recyclage of consumption. Using this as the premise of the study, 18 men and women in their 20s and 30s completed questionnaires and interviews, and the results supported labeling tattoo consumption as consumption by personal taste, tattoos as coded consumption, and recyclage of tattoo consumption, similar to the consumption pattern that Baudrillard sees. First, the younger generations have consumed tattoos according to their personal preferences. They express themselves by tattooing for self-complacency, self-marking, pursuing individuality, overcoming the appearance complex, and seeking pleasure. Second, they have consumed socially coded tattoos. They say that tattoos domestically act as negative codes and symbolize individuals. Although tattoos are a symbol of artists who are relatively free from social norms, they are still a symbol of social misfits created as such by negative perceptions. Third, the pattern of tattoo consumption is like that of contemporary consumption. Tattoos already have become part of popular culture in Korea, and there has been a changing trend in tattoo culture. This study has significance in that tattoos were regarded as a consumption behavior that deviated, from the perspective of deviance. That phenomenon of today's tattoo culture of today was confirmed through the empirical study.

• Journal of Digital Convergence
• /
• v.14 no.11
• /
• pp.507-512
• /
• 2016

As the characteristics, attributes, and accepted way of media have been changing with newly emerging media, human recognition and the communication structure have also been changing. Media are not isolated from the others and emerge in the cultural context; With the drive to juxtapose the old and the new to be in diversified forms, the old media are utilized and improved. In this rapidly changing circumstance by the media, we attempt to theoretically explore the concept and characteristics of visual communication and the media related to augmented reality. Augmented reality does not create something out of nothing but renew the expression; Thus, it reforms the structure of communication. Therefore, there is a significance to look into theories of W.Benjamin, M.McLuhan, Norbert Bolz, and Jean Baudrillard who linked the past to the present in accordance with the new era of communication for us to find out the meaning of augmented reality in the current cultural context.

• Journal of Christian Education in Korea
• /
• v.66
• /
• pp.113-145
• /
• 2021

As a contemporary exponent of Bauderillard's Simulation and Simulacra, this paper aims to reflect on the 'consumer culture' criticized by Baudrillard from the lens of Christian Education in reading the Drama, Penthouse related to the notions of the consumption-ideology, the desire and violence of image in the post-Covid 19 era. As Baudrillard begins to realize that the concept of simulation rooted from mass media in the modern society, he explains mass media as the emerging of Simulation or the process of Simulation will lead to the impulsion of reality, which ends up with vanishing the original reality. Baudrillard is explaining in his argument that the process of Simulation proceeds among various areas of the contemporary society being manipulated by mass media. While Simulation is the process of producing the hyperreality characterized by the excess of images that seems more real than the original reality, Simulation brought about Simulacra as excess reality or consequently exploding reality. Christian educators in the post-Covid 19 must know how to deal with critical theory by considering positive ways of avoiding questioning of how to articulate what the norm of universal consensus is in the specific situation. In other words, it should be noted that the nature of the ruling ideology and the ideology of consumption has been influenced or manipulated by mass media. Christian educators especially have to help young people in seeing the messages from the images of the screens, television, soap-opera, and commercial advertising making reality as Simulacre which is more real than the original reality. When the medium becomes the message, the power of medium makes the consumer not reach communication with it. This is the main reason in the controversy about the images on television drama, Penthouse and the impact of images on people's mind. As an exponent of McLuhan's belief that "the medium is the message", Baudrillard argues although the message and a subject of Simulacra(excessive reality) is unexpectedly disappearing, the medium itself is vanished through the silence of image. However, the task of Christian education has to fuel how we teach, learn, share and pass on the Word of God as the Message. Furthermore, it is worth noting that the Message of God cannot be vanished or burst with the impulsion of it, but exists forever. With Baudrillard's ideas of Simulation and Simulacra in mind, the work of Christian education as an observation platform can better engage the reflection on a consumer society of consumerism that makes Church community and a consumer irresistible against the Fake world.

• Archives of design research
• /
• v.19 no.5 s.67
• /
• pp.269-280
• /
• 2006

In the 21st century, a nation's industrial success will depend on her cultural industry. Thus, Korea has been investing much in the cultural contents industry, expecting high. A nation's potential in the industrial contents industry will be determined by 1) IT infrastructure, 2) digital convergence, 3) rich cultural heritage and 4) government's effective policies. Nevertheless, our cultural contents industry is not as much homogeneous as that of the United States or Japan, but only some parts of it have grown much. So, our cultural contents industry is not very stable, which means that it would grow in a short term but not in a long term. One of the ways to promote the cultural contents industry effectively may be derived from Jean Baudrilliard's theory of simulacra. The aim of this study is to review the ultimate simulacra required of our cultural contents industry, focusing on Disneyland which Jean Baudrilliard emphasizes as the most perfect simulacra.

• The Journal of Art Theory & Practice
• /
• no.10
• /
• pp.25-46
• /
• 2010

Street art operates within an already given visual order: the visuality of the modern city in which the regimentation of the image has become fully adaptive to-what Fredric Jameson termed-the logic of late capitalism. What is the relationship between street art and the hegemonic forms of the image dictated by the "city's rulers"? Does street art evoke an alternative kind of spectatorship? Can the unsolicited visual intervention in the life of the city open up an "optics" that resists the reifying patterns of the contemporary gaze? This paper follows Baudrillard's pioneering analysis of graffiti, arguing that the visuality of a certain kind of street images carries an important potential of challenging the hegemonic manner in which the contemporary image has come to dominate the field of vision.

• Cartoon and Animation Studies
• /
• s.51
• /
• pp.391-411
• /
• 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 Korea Game Society
• /
• v.21 no.3
• /
• pp.25-38
• /
• 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.

• Korean Institute of Interior Design Journal
• /
• v.21 no.4
• /
• pp.21-30
• /
• 2012

Interior space of modern society has a request for non-functional considerations as well as a need for function. French sociologist Jean Baudrillard defined this phenomenon as a dialectical relationship between the functional system and the non-functional system in his book "The System of Objects". The main goal of interior design is the pursuit of non-functional aspects which can satisfy emotional needs of human being without ignoring functional side. This means that designer should exceed the limitation of the functional system and overcome it by his own idea and method. Under this recognition, this paper tried to understand how Shiro Kuramata and Takashi Sugimoto accomplished the overcoming successfully. Sugimoto breaks through mechanical monotony introducing the non-functional objects into the functional system. His objects have power and form of the nature. They also shows traces of manufacture and labor. They works as media transferring old life and values. Sugimoto sometimes adopts the non-functional system such as collection, so it reveals time of collecting and arrangement of various objects. In contrast to Sugimoto, Kuramata erased the form of functional object and turned over the everydayness of the functional system. Instead, aesthetical phenomena substitutes form. Having doubts about the geometrical order of functional system, he opened a discourse for its meaning and limitation. However they have something in common which works as a blueprint for establishing subject's discourse. This discourse is comprised of their own memories of scenes. These subjects' discourse institute worlds through their design works based on each methodology. From the Heideggerian point of view, the worlds offer a foundation which allows the establishment of art in interior design.

• The Journal of the Korea Contents Association
• /
• v.20 no.9
• /
• pp.424-429
• /
• 2020

This study explored the simulation of film in the post-modern society through Jean Baudrillard's theory of simulation. The 21st century can be said to be in a simulated world in which representational images dominate and can be said to be the era of images, where reality and imagination cannot be distinguished. In this world, movies are created under the premise of 'fictional' as a work of art created by man, but in the present post-modern society, the audience responds to and ignores the movie according to the expression of this simulation. In this aspect, we looked at the trends according to the expression method of Simulation, and found that successful film works express the cold reality in various and diverse ways and express it with positive 'stimulating' elements. Through this, in order to develop more deeply and systematically in the production of domestic films, various humanistic values, which are double tracks that can systematically compose a simulation that contains a didactic message about the real world and draw the audience's response, It was concluded that an attempt to express 'stimulating' in a positive sense was necessary.

• Archives of design research
• /
• v.17 no.2
• /
• pp.403-412
• /
• 2004

Animation has been developed with trying a transformation of a reality continuously. The animation's trio is needed to study how the reality is expressed, transform, and developed through postmodernism, which the culture characteristic is one of culture phenomenons. First of all, to study, it s need to define what is animation and postmodernism. And then, the characteristic of postmodernism is studied to figure out how to relate with the reality in animation by the definition, and the reality is classified and expressed properly by a animation film. According to the study, the theory of simulation in animation based on Jean Baudrillard is to express the reality of post modern animation. 11 also shows what master narration is collapsed by the disorganization an outlook on consideration of an idealism and an absolutism and by the reality based on the implication aesthetic through the stream of the times. Finally, according to the combination of the genre such as the mixing 3-Dimensional and 2-Dimensional images, the appearance of the new genre is a result of the autogenous efforts in the animation which makes up the lack of the narrative due to the magical character of the hyper-realism image and the external image caused by the rapid development of technology. In this paper, the post modern reality is analyzed by a animation film such 'Animatrix', and the paper discusses how to express and re-analyze post modern reality in the animation.