• Journal of the Korean Institute of Landscape Architecture
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• v.18 no.4
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• pp.117-125
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• 1991

본 연구는 경관의 미적선호의 정보처리모형을 제시하고 LISREL 방법론을 사용하여 한강경관의 미적선호의 강화에 기여하는 구조적 인자 를 확인함으로써 한강경관의 시각적 질의 개선방안을 제시하는데 그 목 적이 있다. 이를 위해 한강 경관을 대표할 수 있는 전형적이고 시각적으 로 현저한 40개의 경관의 슬라이드를 120명의 피조사자에게 보여주고 미 적평가, 선호, 가독성, 복잡성, 통일성, 신비성을 11등급의 척도를 사용하 여 측정하고 LISREL 분석방법으로 분석하였다. 경관번호 30을 제외하고 모형의 전체적 적합도가 매우 높은 것으로 나타났다. 분석의 결과 경관 에 대한 미적 평가와 선호가 경관의 미적선호를 타당성있게 나타내는 변 수로 확인되었으며, 통일성, 가독성, 신비성의 구조적 변수들이 경관의 시각적 질을 유의하게 강화시키는 인자로 판명되었다. 이 결과를 기초로 하여 한강 경관의 시각적 질을 개선하기 위한 방안을 제시하였다.

• Journal of the Korean Institute of Landscape Architecture
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• v.13 no.2
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• pp.1-12
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• 1985

인간은 역사적으로 의식주와 같은 기본적 생존과는 무관한 '아름다움'을 왜 그토록 열렬히 추구해 왔는가\ulcorner 본 논문은 이러한 문제의 해답을 찾고자 실험미학자인 벌라인 (Berlyne)의 이론을 중심으로 미적 반응에 관한 고찰을 하였으며 다음의 사항을 다루고 있다. 1) 미적 반응을 '자극-반응'의 동적 과정으로서 이해하고 이러한 종적 과정의 구조적 측면을 고찰하였다. 2) 미적 반응의 심리생물학적 작용을 고찰하였다. 3) 미적 반응을 초래하는 자극의 특성을 고찰하였다. 4) 미적 반응의 하나인 시각적 선호에 관한 기존의 연구를 검토하였으며, 시각자원연구에의 응용 가능성이 높음을 고찰하였다.

• Proceedings of the Korean Society of Environment and Ecology Conference
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• 2006.04a
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• pp.51-54
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• 2006

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2022.03a
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• pp.33-36
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• 2022

• Cross-Cultural Studies
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• v.44
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• pp.411-430
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• 2016

One of central issues in the Literature and Science discourses during the Victorian era is the relation of physiology to psychology. Many thinkers tackle the question of whether or not psychic phenomena can be reducible to their physiological bases. For instance, Victorian physiologist William Benjamin Carpenter claims that there should be a boundary between physiological and psychological qualities. Yet, his contemporary writer Grant Allen contends for the reduction of psychology into physiology. In the essay, I discuss Grant Allen's work Physiological Aesthetics (1877) so as to eventually problematize his physiological reductionism. I especially highlight the paradox of his physiological aesthetics. In order to clarify my argument, I introduce two concepts: evolutionary aesthetics and physiological reductionism. On the one hand, Allen argues for the development of aesthetic appreciation. The gradual evolution from gaudy to serene colors, for instance, reflects the fine differentiation of sensory organs. He believes that the existence of varied aesthetic pleasures corresponds to the evolution of sensory nerve structures. Nonetheless, Allen ironically gives more weight to the commonality of aesthetic experiences than to this teleological ordering of aesthetic experiences. He argues that there is no fundamental difference among humans in terms of their aesthetic assessments. Furthermore, there is even no essential distinction among plants, animals, and humans in light of their aesthetic appraisals, he states firmly. Although he asserts the gradual advance of aesthetic feelings caused by the intricacy of nervous systems, he simultaneously trivializes the evolution of aesthetic appraisal. In the essay, I highlight this paradox in Allen's physiological aesthetics. It should be underscored, lamentably enough, that Allen seeks biological purity by erasing fine lines among physiology, psychology, and sociality. He estranges aesthetic experiences from subjective variations and their socio-cultural contexts. He makes great efforts to eliminate individual differences and socio-cultural specificities in order to extremely biologize aesthetic experiences. Hence, Allen's physiological aesthetics is marked as the politics of physiological purification.

• Science of Emotion and Sensibility
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• v.19 no.3
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• pp.15-26
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• 2016

This study was performed to investigate whether aesthetic preference is related to the personality of an individual or not. Even though prior studies have reported that aesthetic preference for a certain style of art is associated with a personality factor, it is more important to focus on impressions and feelings about paintings than the style of art. The present study tried to examine how positive, negative, and neutral feelings about paintings are related to a personality factor, and that familiarity has an effect on aesthetic preference. After participants answered a Big-Five personality questionnaire, they then rated the preference for and familiarity about paintings which implied emotions. The results showed that individuals with higher scores of neuroticism preferred negative paintings. A preference for negative paintings is hard to explain, but this could be explained by results of this study. A hypothesis that familiar paintings would be more preferred is supported by the data. Aesthetic preference has both objectivity and the subjectivity. This study explained subjectivity through individual differences, and investigate art from a psychological point of view rather than conservative methods that sort paintings into art history.

• Archives of design research
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• v.20 no.1 s.69
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• pp.21-32
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• 2007

To quantitatively measure or evaluate aesthetic factors is not easy in comparison with physical, functional, behavioral or economic factors. Yet aesthetic factors essentially play an important role in design modeling process. Despite its importance, research on aesthetic assessment or the interaction of aesthetic influential elements is insufficient. Therefore, this study is intended to find the relationships between visual preference and aesthetic variables of perceptual-cognitive dimension and affective dimension in commercial space design. According to the result of this substantiation research, aesthetic variables that give a positive effect on the preference of commercial space design are unity, order, and clarity in perceptual-cognitive dimension and 'pleasant', 'relaxing' in affective dimension. On the other side, aesthetic variables that give a negative effect on the preference are contrast, complexity, and ambiguity that is a contrary concept of clarity in perceptual-cognitive dimension and 'exciting', 'arousing' in affective dimension.

• Archives of design research
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• v.13 no.4
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• pp.155-162
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• 2000

Is golden proportion, which has been classical beauty among aesthetic rules and orders, avaiable in the present \ulcorner or Does ${\surd}$rectangle proportion replace the classical proportion \ulcorner It is a main theme in this thesis to answer the above questions. This study is basically about favorite proportion in the field of fine art, architecture and design. For this study, 2oo students participate in the answering to the questionnaire. The conclusions which result from the above surveys are as follows ; The results of the first survey is the preference of ${\surd}$2 rectangle to other ${\surd}$rectangles. The second result is the preference of golden proportion as 1 : 1.618 to ${\surd}$2 rectangle as 1 : 1.414. This survey proves that ${\surd}$rectangle proportion as modern proportion does not substitute the golden proportion with the classic proportion.

• Journal of Digital Convergence
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• v.11 no.4
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• pp.449-457
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• 2013

This study seeks to find the sociocultural value which influences the man image and make-up in media. It helps to gain the effective data that suggest the application of male make-up in promoting development of market. The man emphasizes the practical value which is the technical and instrumental value to express the man image rationally, aesthetic value to pursue aesthetic purely and symbolic value which is a volitional and intentional value experienced in the history and society to express preferring man images as the society is changed. As analysing the man image based on sociocultural value, the practical value of men's make-up is to maximize the utility vale in order to deliver a clear image considering their activity range, environment, and situation. Second, the aesthetical value of men's make-up is to emphasize femininity through women's make-up technic. Third, the symbolic value of men's make-up is to deliver a concept or intentionally create an image by maximizing overall characteristic image. It will be hopefully valuable as a basic data for developing make-up products and setting trend for men as well as for future studies.

• Archives of design research
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• v.11 no.1
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• pp.173-184
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• 1998

This study deals with the visual quality in the future urban landscape and architectural environment, and as such, aims to identify a scientific and objective aesthetic and visual quality from the perspective of empirical aesthetics. The empirical aesthetics provides a framework that can be utilized in understanding human perception, consciousness, and behavior and a way to categorize the visual quality and to explain and predict its effect. The study examines various theories on environmental perception, cognition, and some new approaches to environmental aesthetics, and tries to present aesthetic properties that can be applied to environmental design. First, the aesthetic experience in visual perception can be defined as a combined effect of psychobiological properties and human activity, i.e. an interaction between the formal and symbolic signs in environment and the conceptual framework of man. The effect of visual quality differs and varies a great deal, depending on the sociocultural, personal and collective value system, so it is hard to define it in absolute terms. Second, the impact of visual quality and its aesthetic effect has to do with pleasure, preference, the aptitude for survival, and self regulation. Third, aesthetics is one of the areas that can benefit a great deal from an interdisciplinary approach. and an empirical study such as this can be used as a basis for design, planning, and evaluation.