• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.68-69
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• 2004

• Journal of Fashion Business
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• v.14 no.2
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• pp.151-165
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• 2010

The goal of this dissertation is to analyze the change of dress style based upon the 'Difference' theory developed by Gilles Deleuze and Michel Foucault. The methodology for this study consists of literary research, encompassing philosophy, aesthetics, dress and materials derived from internet and case study based upon the analysis of Deleuze and Foucault in the paintings by Bacon, $\acute{a}$, and Magritte. In order to develop the theoretical analysis tool for this study, the period and continuous theories of style change are examined in terms of 'identity' and 'resemblance.' A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's and Foucault's theories and from their interpretations of paintings was developed. This newly developed theory not only defines that dress style changes under the influence of various conditions such as designer's will, ideology, social structure and technology, but also interprets it as a newly-created style that has nothing to do with the original one. The characteristics that represent 'difference' in change of dress style are deformation, hybrid, absence and resemblance. They are derived from the Deleuze's and Foucault's interpretations of 'difference' represented in the paintings by Bacon, Vel$\acute{a}$zquez and Magritte.

• Korean Institute of Interior Design Journal
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• v.18 no.3
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• pp.66-73
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• 2009

In the digital age, as it is ambiguous to distinguish between the original and a replica, the order of reproduction which is more realistic than the reality is becoming a new cultural order. Before the period when digital paradigm dominates, always the reality has been an object to be copied. But, today is an age of Simulacre where code of digital technology dominates. Such a phenomenon is shown in the construction space without exception Gilles Deleuze who was a representative philosopher of the post-structuralism depicted the concept of Simulacre as an instant 'event' passing by without change in an object or substance. As the result of analyzing what kinds of feature for the concept of event is expressed in the digital space, a diagram itself could be a design process, the digital space with correlation was able to be created through the change in the meaning according to the changing image and my body which was the leading part to form primary space. In such a meaning, this study pays attention to Deleuze's 'Event(Simulacre)' concept. At this transitional period when a new concept of digital space is about to take root, the modern philosophers' theories and the discussions about spatial relativity should be continually studied, along with the development of spacial theories for the modem construction.

• Journal of English Language & Literature
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• v.55 no.1
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• pp.199-213
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• 2009

From the perspective of pragmatics, language is a mode of act that works in the order of motive and performs human purpose. The function of language is then primarily performative rather than informational or significative. Pragmatics, however, encounters a tough question: what is the relation of the linguistic act to meaning? Many language theories including pragmatic theories admit the autonomy of meaning while defining language as act. But in Deleuze and Peirce we find examples of maximalist pragmatics that denies the autonomy of meaning. However, Deleuze and Peirce are different in their view on the function of meaning. For Deleuze, language is the transmission of act, what he calls 'order-word.' He rejects meaning except as the minimal condition for the transmission. But his theory turns out to be contradictory in that meaning as the minimal condition is actually the function of constants that he denies for order-words that are always variables. On the contrary, Peirce's pragmatism as a radical pragmatics does not exclude meaning. For him, language is interpretative act serving the purpose of understanding reality, which is performed through the function of meaning and 'habit.' This shows that meaning is indispensable to language even in maximalist pragmatics.

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.138-147
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• 2012

Recently, significant tries appeared in the spatial design field were appreciated as tries to find crossing between space formation and discourse. This study is to find spatial clues from Gilles Deleuze, the modern philosopher's literature where he developed his discourse analyzing paintings of Francis Bacon, and reveal common characteristics with the contemporary spatial design. According to the analysis of Deleuze, Bacon's paintings are separated into frame-aplat, shape-figure, and contour-track. From these three elements, I extracted spatially analyzing languages of 'occurrence of shape-accident', 'space of track-sense', and 'interaction of aplat-background.' Then with these analyzing languages, I analyzed latest works of Rem Koolhaas. Deleuze Space Theory confirmed in works of Rem Koolhaas is the application of accident-focused occurred between the user and space, the space that induces accident, and differentiation between the user and space or space and site. As a result, I could confirm the common characteristic that both modern discourse and spatial design are understood as 'difference' from life and movement.

• Journal of Digital Convergence
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• v.15 no.11
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• pp.441-446
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• 2017

As mentioned on the paper, this study does not tackle the issue of contention about different media mix. It rather analyzes the capability and intensity of new media created through the correlation of different media, and researches the intermediality relationship among media to create new type of fine quality media. Along with the development of digital technology, the intermediality relationship among painting, video media such as movie and animation has become active. Also, as the study examined, the mix of 'painting and movie', 'movie, animation, game' has blurred the boundary, and formed a mutual inevitable relationship. Thus, this study examined the transfer of media and correlation based on intermediality relationship insisted by Rajewski and Deleuze's theory. Deleuze's theory explains the relationship of being which analyzed the variation of media. As for the intermediality relationship of media, the study examined process of media combining and converting based on 3 types of category of Rajewski, "media combination, media conversion, intermedial relationship matching".

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.169-178
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• 2010

This paper has conducted a theoretical re-inquiry on Gilles Deleuze' thought about Alfred Hitchcock' film based on the image of thought in relation with the concept and theory about film. So, the purpose of this article is to explore that film can acquire the academic significance as a philosophy including an academic denomination of social science and Arts. According to the findings, Gilles Deleuze appeared that A. Hitchcock used the mental-image which can transform the perception-image, the action-image, and the affection-image in film and make the relation including the way which it is developed between character and event. Also, as the mental-image can change the meaning of film, camera is the essence and mental referent. And the mental-image makes the other images a specific frame, permeates into image and transforms it. This paper sets limits to some problems that Deleuze's thought about film generalizes to filmic theory, but has a importance to inquiry new research as a theoretical introspection for the practical discussion about the relation between film and philosophy.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.64-76
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• 2015

Gilles Deleuze highly evaluated Baroque as the expression body that implements the fold theory, a philosophical thinking about the nature of beings. This can be seen as a meaning that Baroque implements the essence of the world, or the power constituting that essence. In addition, the beauty of Baroque focuses on 'New Harmony' the sum of partial forms caused by each element, and not Platonic harmony. he evaluated the aesthetic of Baroque costume as 'acquisition of liberation and autonomy', 'derived force from infinite spiritual forces'. This study analyzed the contents of the Aesthetic of Baroque costume based on the reviewed Deleuze's folding theory, Baroque aesthetics, and views of Baroque costume. As a result, it inferred the aesthetic of Baroque costume into four types, which are as follows: open structural openness, overlapping structural dynamics, integrated structural diversity, and relationship structural integrity. This study analyzed the aesthetic of Baroque costume based on Deleuze's philosophical thinking. The analysis showed that its aesthetics, which focused on "New Harmony", created energy of life and a venue for expression of power, as the aesthetics eliminated the prejudice of complexity and excessive decoration. In addition, Baroque costume is not the simple historical costume of the past. Instead, it is one of power and spirit, still existing in modern fashion. Baroque costume's formativeness and Paradigm can be said to provide the creative principle important for modern fashion because the aesthetics implemented in Baroque costume accepts free spirit, new challenge, difference and diversity, and is similar to the spirit pursued by modern art and fashion.

• Journal of architectural history
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• v.17 no.6
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• pp.7-27
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• 2008

The primary object of this study lies in reilluminating the meaning of the Baroque, through studying arts and architecture by means of the features of Baroque aesthetics suggested by Deleuze in his writing 'Le Pli' on the basis of Leibniz's 'Pli' concept. Through this study we can see the following. In the first place, the six features - pli, separation between the inner and the exterior, highs and lows, unfolding, texture and paradigm presented as the features of Baroque aesthetics - have to be understood not as being independent features but as those derived from a series of continuous process of folding and unfolding. In the second place, Deleuze's thinking ranging from the 'Pli' of the Baroque to the paradigm derived on the ground of Leibniz thinking is a dynamic world of folding and unfolding, ultimately seeking unity through the topological changes and succession repeating deterritorization and reterritorization. In the third place, most architectural trends claiming 'Fold Architect' or the 'Pli' of Deleuze as their architectural philosophy are committing errors of mass-producing standardized designs by confining the meaning of Deleuze's 'Pli' concept into a simple reproduction of plied superficial things. With this finding in mind, the concept of folding and unfolding examined through reilluminating the Baroque Architecture where the 'Pli' concept is embodied, suggests to us that the problems of contemporary architecture should be rightened, and shows us that it can become an architectural philosophy which can be concretely realized in architecture.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.53-69
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• 2007

Advertisements create the illusion about the ideal body utilizing body beauty as well as come to influence in formation of the social beauty standard. Commodity advertisements using the body have been considered as the most effective advertisement method because of the fluidity and the dynamic, which are understood as organic body's characteristics. Especially, advertisement strategies utilizing body painting draw customer's attention because of the properties liberally performed on the living body. This thesis attends to study on the J. Deleuze's 'becoming' Phenomenon expressed in body painting, and to analyze about the body becomes fashion and commodity and is positively utilized as effective advertisement tools. J. Deleuze's 'becoming' Phenomenon expressed in advertisement utilized body which painting is classified as follows as; becoming fashion of the body, becoming commodity of the body, becoming advertisement sign board of the body, becoming animals and plants of the body, and becoming image of the body. The result of this study on the J. Deleuze's 'becoming' Phenomenon expressed in advertisements utilizing body painting shows multiple commodity's characteristics in order to satisfy with customer's various anxieties being changed continuously, and represents the characteristics of 21C advertisements utilizing the body being changed any other thing. Consequently, this thesis is aimed at new consideration about the body beauty, which has been extended to other sphere.