• Archives of design research
• /
• v.21
• /
• pp.15-26
• /
• 1997

The aim of this study is to suggest a comparative and interpretative study by quantatitative analysis (by applying information value's calculating rule that Shannon has developed) about modem and postmodem ceramics product design centering around form description among many evaluating and analyzing elements by applying analysis model that Hong ik university' professor, Kim Bock Young, has researched and developed

• Journal of the Korean Geographical Society
• /
• v.36 no.3
• /
• pp.292-312
• /
• 2001

The ecological crisis today can be seen as a result of modernity which has been developed on the Cartesian dualism of subject/object, and of human being/nature, and thereby has huts objectified and subjugated nature through science and technology New environmental ethics hence should be developed urgently against modernity and to overcome the present ecological crisis. This paper aims to consider some implications for ecology and environmental ethics in the post-structurists'arguments struggling against modernity to formulate new frameworks of discourse and politics, and to examine a possibility to theorize environmental justice on the basis of postmodem ecology. For this purpose, this paper first looks on ecological arguments and implications for environmental ethics in post-structuralism, then tries to gain prominent ecological insights, focusing on ethology and 'rhizomatic naturalism'in the philosophy of Deleuze, and finally interprets both bioregionalism as a theory of 'difference' from postmodern point of view and Deleuze's ecology in terms of symbiosis and difference, in order to conceptualize environmental justice.

• Journal of the Korean Geographical Society
• /
• v.33 no.spc
• /
• pp.709-719
• /
• 1998

오늘날 세계는 물질적으로 풍요롭게 되었지만, 생태위기의 발생과 더불어 환경문데를 둘러싼 불평등이 감소하기 보다는 오히려 증대하고 있다. 21세기를 위한 새로운 패러다임으로서 생태학은 이러한 불평등을 극복하기 위한 지식 및 실천으로서 '환경정의'의 개념 또는 이론을 필요로 한다. 진정한 환경정의론은 한편으로 생태학의 규범적 측면들을 발전시키면서 다른 한편으로 이의 이데올로기의 동원을 막을 수 있는 이론적 및 실천적 토대가 될 것으로 기대된다. 환경정의에 관한 개념적 연구는 주로 사회정의에 관한 철학적 전통, 특히 자유론, 공리주의, 계약론을 포괄하는 자유주의적 정의론, 맑스주의적 정의론 및 포스트모던 정의론 등에서 도출된 주요 개념들을 자연환경에 확대시키고자 한다. 환경정의에 관한 몇몇 학자들, 대표적으로 벤쯔(Wenz), 하비(Harvey), 로와 그리슨 (Low and Gleeson) 등은 다양한 전통을 위에서 제시한 (환경)정의론들을 면밀히 고찰하여, 이들 각각의 한계를 제시하거나 문제점들을 지적하고, 나아가 이들을 종합하고자 했다. 이들의 연구는 환경정의에 관한 다양한 이론들의 특성을 이해하는데 많은 도움을 주지만, 그 자체로 일관성 있는 이론으로 발전하지는 못했다. 이 글에서 제시되는 환경정의론은 인간들 간의 관계, 자연과 인간들 간의 물질적 관계, 그리고 상징적 관계 등에 상응하도록 정의를 3가지 차원, 즉 분배적 정의, 생산적 정의, 승인적 정의로 구분하고자 한다. 이들은 각각 필요의 원칙, 노동의 원칙, 그리고 의사소통의 원칙에 기초하며, 또한 각각 자유주의적, 특히 롤즈의 정의론, 맑스주의 정의론, 그리고 비판이론이나 포스트모던 정의론에서 많은 시사점들을 얻을 수 있다.

• The Journal of the Korea Contents Association
• /
• v.22 no.4
• /
• pp.727-741
• /
• 2022

This article focused on contemporary American animation since the 1990s and later detailed clues to the theory that contemporary pop art style influenced contemporary American animation art creation expression and contemporary American animation. Knowing why American animation swept the world summarizes the art creation characteristics of modern American animation. After a combination of theoretical and actual animation works, the main manifestations of the postmodern pop art style in contemporary American animation: exaggerated and superficial shapes highlight character characteristics; rebellious colors reconstruct emotional perception; creation impacts the mass media-dependence; bizarre collage and repetition, embodying the postmodern pop spirit of jokes and spoofs, Etc. Through this, it is expected that the current analysis of American animation will provide new innovative ideas for domestic animation design and increase the competitiveness of domestic animation in international video animation.

• Cartoon and Animation Studies
• /
• s.39
• /
• pp.157-182
• /
• 2015

Mr. Folman, an Israeli director, used a highly stylized form of animation in a decidedly adult way to make his documentary about the 1982 war in Lebanon, "Waltz With Bashir," in 2008. After 5 years, he has used another distinctive approach, fusing animation with live action in his latest film, a trippy and surreal undertaking called "The Congress." He dismantled the means through parodies, the core of post-modernism art and built a new meaning to create a unique world view and unique aesthetics. In this study, parodies of the modern concept of post-modernism being used as a major strategy in the creation of art have appeared the four characteristics of post-modern parody: 1) intertextuality, 2) dissolution and fusion of genres, and 3) strengthening of irony, and 4) pastiche. This study is characteristic of post-modern parody that discusses the relevance of contemporary parody and postmodernism being developed by analyzing how they appear on the practical work. Furthermore, through analysis of "The Congress", this study discusses the post-modernist world view and the creative way of creating an experimental art with parody.

• Journal of the Korean association of regional geographers
• /
• v.14 no.5
• /
• pp.604-626
• /
• 2008

In recent years, the formation of identity has drawn much attention in urban development strategy. This has a dual implication for normative rehabilitation of lost traditional identity for ontological security of human being, and for strategic improvement of newly urban images in order to gain superiority in urban competitions. This duality is reflected on the debate between postmodern theorists, such as Lacan, Foucault and Deleuze, criticizing modem identity, and Arendt and Habermas, suggesting alternative formation of identity through public space. This paper considers some implications of identity for urban development policy, while criticizing urban development strategies which justify themselves with enhancing urban identity but which distort or erode it actually. In particular, this paper argues that the perspective of postmodern theorists is suitable for criticizing pseudo-identity in reality, while critical theoriests' suggestion of formation of authentic identity through and in public space can be understood as an ethical alternative to urban development policy.

• 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.

• The Journal of Art Theory & Practice
• /
• no.15
• /
• pp.51-79
• /
• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• The Journal of the Korea Contents Association
• /
• v.21 no.9
• /
• pp.88-104
• /
• 2021

The visual expression of deconstructive graphic design influenced by postmodernism differs from the traditional ways of graphic expression that consist of precise images and text and is challenging and highly experimental. The characteristics of the formative nature of such deconstructive graphic design emphasized the importance of the reader as the principal agent of aesthetic experience in the appreciation of works. For this study, a new ideological framework was developed regarding the ambiguity arising due to visual experimentation in deconstructive graphic design, assuming the central theory to be the Reception Theory (Aesthetics of Reception) centering around the recipient who is the reader. The characteristics of Iser's Reception Theory are substituted as a theoretical category and an interpretation of the works of ambiguity in deconstructive graphic design is carried out. Although Aesthetics of Reception is a literary theory about the interaction between the artist and the reader, as a method for interpreting deconstructive graphic design influenced by postmodernism, it laid a theoretical foundation and enriched the interpretation of works. Moreover, the four characteristics of Iser's Reception Theory were used to create a framework that suggested a new direction for the approach based on the reader's interaction in the process of interpreting works of modern graphic design.

• Archives of design research
• /
• v.11 no.2
• /
• pp.59-68
• /
• 1998

A work as human's creatures are transformed to bits and multimedia. In the modem society which is governed by simulation, infornlation is symbolized and becoming easily reached to anyone. Thus, collections of image and composition can show a new world beyond the ethical viewpoint. The problem with worries about the differnce between the original and a copy and disappearence of the meaning in postmodern era is the problem of how to set the intellectual properties and copyrights.In this situation, sharing of information according to the theoretical concepts and process of digitalization of photos in the era of information-intensive society was presented. The ethics of intellectual properties and copyrights and in postmordern era were driven. After reviewing the intellectual properties in the era of national information infrastructure of twenty-first century and by identifying the problems, the directions of what we have to do as image makers, and the intellectual properties and copyright.