• The Research Journal of the Costume Culture
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• v.22 no.3
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• pp.450-467
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• 2014

Modern society attaches great important to state of the technology, but, unconscious desire and subconscious are also discussed in an important value. In the social background of such madness is acting as an artistic inspirational to the many people. At such a time, fashion photographs also being used medium which speak for people's desire. Editorial fashion photographs with unusual stories or including experimental visual elements unlike fashion advertising have increasing. The subject of this study is the formative characteristics in recognition of madness from ancient times until now and find out new meaning of the unusual and informal form of editorial fashion photographs showed in Vogue Italia since 2000. The analysis data of this study, we used 36 photographs of editorial fashion photographs taken by Steven Meisel, Tim Walker and Miles Aldriege. The final process of analysis made in with agreement of 10 major people. We used photograph's basic visual elements as analysis to avoid arbitrary interpretations. The content of this study is drawing in editorial fashion photographs from the viewpoint of Michael Foucault's Madness theory, Deleuze and Felix Guattari's Madness as the aspects of desire. The madness images in the editorial fashion photographs were showed as Decadence, Blindness, Violence and Grotesque based on the analysis results from above. The formative characteristics of editorial fashion photographs enabled the awareness on the value and importance of madness in modern society. These editorial fashion photographs can be the source of our wider perspectives for changing recognition of madness.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.325-330
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• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• International journal of advanced smart convergence
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• v.13 no.1
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• pp.114-121
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• 2024

Deleuze and Guattari introduced the concept of minority groups resisting the majorit. Minority groups consist of individuals who are excluded and marginalized by the majority. They advocate for a society in which these individuals, through mutual solidarity, can escape prejudice and fixed ideologies and lead a dignified human life. In this context, through his novels featuring protagonists with disabilities, Stéphane aimed to create an ideal societal atmosphere. The characters with disabilities in the novels incessantly strive toward life goals, emphasizing the importance of the process of effort and progress, even if the ultimate goals are not achieved. The dedicated pursuit of goals and the journey toward them hold significance beyond the attainment of objectives. Such an attitude and approach toward life by minority individuals is deemed sufficient to challenge the power structures established by the majority. This narrative challenges the societal norm and power structures, which highlights the value and meaning found in the process of striving and progressing, and ultimately contributes to breaking down societal barriers and fostering a more inclusive and equitable society.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.331-336
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• 2021

This study first examined the social meanings of typicality found in the prison, (solitary) confinement, and conduit(passage) in Peter Halley's works, in which both the prison and (solitary) confinement represent a suppressed structural framework. The former has freedom and escape excluded from it, and the latter allows for mutual regulation and connection as a space of positive mediation. Conduits are interpreted to be flexible and have the potential of creating something new through connection and communication with the outside world. The study then compared and analyzed the meanings of typicality in Halley's works and the concept of segments proposed by Gilles Deleuze and Félix Guattari as social justice in that both of them were in the same context. The findings lead to a conclusion that Halley's prison, (solitary) confinement, and conduit(passage) can be connected to a solid, flexible, and escape segment, respectively, by Deleuze and Guattari.

• Korean Institute of Interior Design Journal
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• v.20 no.4
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• pp.63-73
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• 2011

In the middle of that a information form is being formlessly changed to diverse deirections, a design and a space as physical consequence show not only a allegory but mutually relational charicteristic meaning a nonboundary and nonlinear form by development of modem digital culture. Following development of the modern digital culture, a design and space which are physical results, show a point of correlative specificity, allegory, nonlinear and nonboundary, Not only a design and culture but also various circles handle a hypertext as a representative pivot in this change. this has same contexts as rhizome possessing a asignifiante and nomadic characteristic said by Felix Guattari and Gilles Deleuze. An ideal of rhizome space shows historical decisions, unexpected accidents, a concepts, an individual. a group, social compositions above an contrifugal exterior force, This study examines into surroundings designed by a hypertext and rhizome through a case accordingly and infers an ultramodern characteristic in conventional precognition with synthesizing a peculiarity of the digital generation space.

• SUVANNABHUMI
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• v.11 no.1
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• pp.169-184
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• 2019

In recent years, Vietnamese literature has seen the rise of women writers in a genre traditionally dominated by men-travel writing. Phuong Mai, Huyen Chip, Dinh Hang, among others, are just a few who have introduced innovations to this genre. This paper investigates the practice of contemporary Vietnamese women travel-writers and how they differ in perception compared to their male counterparts. One of the most crucial differences is that women perform cultural embodiment, employing their bodies instead of their minds. An encounter of the woman writer with other cultures is, therefore, an encounter between the body and the very physical conditions of culture, which leads to a will to change, to transform, more than a desire to conquer, to penetrate the other. Utilizing the concept deterritorialization developed by Gilles Deleuze and Felix Guattari, this paper argues that despite being deemed fragile and without protection, women's bodies are in fact fluid and able to open new possibilities of land and culture often stripped away by masculinist ideology.

• Korean journal of communication and information
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• v.70
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• pp.277-305
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• 2015

French poststructuralists Gilles Deleuze and Felix Guattari pointed out that the minority age already has come in the modern society through discussing minority topic. Futhermore, they supported 'Becoming' as new methodology that minorities escape from suppressed reality. 'Becoming' is the practical concept for how one identity could split into different lives and subjects, thus it could be explained as an exemplary that autonomous change and actively entering into different lives. The purpose of this study seeks the practical way for elder women can independently participate in media education which is based on concretely 'becoming woman'. For this, the article examines the main concept and thought of Deleuze and Guattari. The reason why this article premises this theory is for changing 'desire' of elder women's approach to 'becoming women' through new interpretation about minority and minorities which were defined by quantitative criteria. Consequently, this article would suggests the direction of senior media education for seniors for the positive and specific effect.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.7
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• pp.1052-1063
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• 2007

This study focuses on the analysis of body images appearing in the fashion illustrations since the 1990's and thereby attempts to determine relationship between their expressional features and aesthetic values in reference to theory of post-structuralism. Especially among numerous post-structuralist, Michel Foucault, Gilles Deleuze/Felix Guattari, and Julia Kristeva set unique arguments on body, which provide valuable leads to decipher the image of body. For that reason, body images shown in the fashion illustration are categorized into grotesque body, fragmented body, humanoid body, and post-gendered body, and reviewed their characteristics and aesthetic values based on critics of above three scholars. Findings are summarized as follows: First, image of body entails meaning of an resistance of traditional social concepts and order, and second it serves the purpose of creating a new and unique sense. Finally, it is not an object of representation of physical facts, but rather a representation of the real itself, apart from presenting the original material. Given arguments enhance understanding of images of body in fashion illustration in a broader sense.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.215-222
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• 2021

Duchamp chose readymades mainly for his denial of retinal painting and his desire and fluid thinking for changes inside him. His thinking is well presented in his readymade works. One of his early readymades, Bicycle Wheel, expresses correlations between beings and capital. Its essence is capital and the desire of beings. It is connected to Desire or Desire-Machine proposed as a social reform and creation model by Gilles Deleuze and Félix Guattari. Bicycle Wheel does not simply end in desire relations between capital and beings, though. When the desire of beings is converted into positive desire, it can keep inventing and creating something that is repetitive, fluid, and new. Duchamp tried to convey this positive desire through his readymade Fountain. Duchamp created a ready-made article toilet into a work of art in Fountain, being driven by desire flowing inside him. This is connected to the attributes of nomads that refused to settle down and continue to flow in search of new landscapes. This way of his thinking is clearly reflected in his Box in a Valise. He was motivated to create this work by his fluid thinking. In this work, various situations can unfold often according to the directions of two elements, place and arrangement. Here, place guarantees fluidity, and arrangement variability or desire. According to Gilles Deleuze and Félix Guattari, fluidity represents nomads with the characteristics of flow and variation, and desire represents productivity or production or creation. Box in a Valise represents nomads themselves. The nomads defined by Gilles Deleuze and Félix Guattari keep flowing and create a new world. They are in line with the thinking of Duchamp that refused to settle down at one place and escape from the old order to create a new artistic world. This type of nomads can be called revolutionists or creators that acknowledge differences and create. Nomads also contain the concept of resistance to the old order. Deleuze and Guattari proposed a war machine as a model of this resistance. Duchamp and his readymades can thus be called war machines.

• The Journal of Art Theory & Practice
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• no.9
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• pp.33-57
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• 2010

Focused on the performance of interactivity in the appreciation of media art, this study is associated with the continually changed art texts and a participator's physical reactions to savor the art. Digital works of art emphasizing interactivity usually decentralize and disperse the responsibility and the central role for creating and producing the art works. Proper procedure of the work is generated by actions such as clicking the mouse, controlling the joy stick or actual movement of anticipators' bodies. The art works are influenced by participators' interactivity, which makes the leading roles and the responsibility for creating art scattered and divided. These features are similar with those of the 'Rhizome' which Gilles Deleuze(1925~1995) and Felix Guattari(1930~1992) have discussed. In their argument, 'Rhizome' is an interval or being 'between', which keeps changing. 'Rhizome' is a state in which the individual and the work of art never reach the conclusion, only a phenomenon of eternally altering. Like 'Rhizome', this sort of art work has the decentralized system, opens for several directions, and activates the system which is changeable as linked items increased or decreased. These works stimulate the individual to perform and act while appreciating the art piece. In terms of processing and preceeding, interactivity is the important equipment and catalyzer. Through these procedures, the pieces can be the 'floating work of art' combined and condensed with the whole participators' reactions. The 'floating work of art' is neither the expression of an individual nor that of one particular group. Multidimensional influence of the web is the web which is constantly reorganizing and producing in its connective state. This connective state is activated by interactivity. The Rhizomatic system embodies the floating work of art process. Due to each individual perceiving art in individualistic terms, there is no dominating powers or central points. I regard this art works possessing above traits as the work of art with Rhizomatic system. The work of art with the Rhizomatic system is embodied through interactivity and because physical action activates the process of appreciation, a participator can actually experience and practice the philosophy. Ultimately the Rhizomatic speculation occurs during the interactivity of appreciating the Rhizomatic art pieces. The Rhizomatic system penetrates into the intuitive area beyond our recognition and thoughts, as we are engaged in the connective process. With the methods and manners of interactive art, we can possibly reconsider the system as a tool in which the participator is directly able to link experience and theory to the philosophies of Deleuze and Guattari.