• Science of Emotion and Sensibility
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• v.11 no.1
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• pp.91-104
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• 2008

This study searches for an abstract aesthetic dimension that has an important response to preference by finding products excluded in past studies on aesthetics. Furthermore, the adjective image languages are examined, grouped and examined in order to also take into account the dimensions that are regarded as important for the selected product. Based on this, the preference trends will be inferred and the level of aesthetic dimensions that are import in the product will be found and presented based on its preference to create an accurate objective point. Based on the values of the levels of the aesthetic preference types and aesthetic elements found by this and presenting the preferred types in the design process, the objective of this study is to create designs with small chance of failure. In addition, it attempts to present a new direction for research of aesthetic dimensions.

• Archives of design research
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• v.19 no.2 s.64
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• pp.121-128
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• 2006

The elements to enhance preference in symbol design are mainly related to consumers' response and aesthetic elements. Because certain aesthetic elements in design affect consumers' response and it is actually presented through (the different level of) preference. This study through surveying case studies examines whether a certain aesthetic element in symbol design gives rise to much preference. According to the result of study, high preference in symbolic design depends on high level of Rhythm, Balance, Harmony, Elaboration, Round, Gestalt, Organic, and Artificial/Natural among aesthetic elements. In comparison, it is founded that Simplicity/complexity, Objective/Abstract, depth, and symmetry should be designed at the moderate level, and proportion, repetition of elements be at the low level. Additionally(or Besides) this study makes out that symbol design cases with high preference have shapes from natural material or patterns of traditional culture, while cases with low preference have shapes from geometric figures. On the basis of these results, a guideline of symbol design could De offered(or suggested) to fit preference of consumers. But, this study is mostly concerned with only affect among emotional reactions of consumer in a scope of study, and is considered only in the aspect of form excluding color and texture.

• Journal of recreation and landscape
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• v.11 no.2
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• pp.1-11
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• 2017

Recently, growing emphasis has been placed on the installation of rain gardens. However, previous rain garden studies have mainly focused on physicochemical effects such as rainfall runoff management and water quality improvement. Therefore, this study aims to investigate general perceptions of rain gardens and landscape aesthetics among rain garden visitors. To achieve this goal, a survey of 100 rain garden visitors was conducted, gathering information about their general perceptions of rain gardens and landscape aesthetics at three pre-selected rain garden locations. Results showed that rain garden recognition was limited to 34% of the respondents, indicating that most people were not aware of rain gardens and were unable to notice differences between rain gardens and traditional gardens. However, stronger support for rain gardens was observed among those who were aware of the concept, those who recognized that rain garden planting types are differentiated from traditional gardens, and those who rated positively the landscape aesthetic value of rain gardens. The main findings are expected to encourage further studies of quantitative indicators by conducting a correlation analysis between aesthetics and functionality of rain gardens.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.554-564
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• 2013

This study identified the characteristic and meaning of flow experience through the experiences related to fashion models' role performance; subsequently, the following findings were obtained. First, fashion models' flow experience could be divided into characteristics such as temporality, spatiality, relationality, physicalness and pleasure. Second, the process of this flow experience ultimately led to the complete moment. The complete moment can be said to be the aesthetic experience that provides both the meaningful experience and the aesthetic pleasure; it is the experiential knowledge at the dimension of mysterious integration that their body and mind are integrated into one. The beauty that fashion models exercise at the aspect of this aesthetic experience is that of performance and is an individual physical movement where they perceive their role and exercise their inner ability to express their costume most beautifully. Accordingly, the beauty of performance can be said to mean that the fashion show was successfully held by inducing both the performer and the audience into an aesthetic response. The process of specialized planning and preparation is required for fashion models to exercise the beauty of performance at the complete movement reached through flow experience and a successful fashion show. Diverse elements of the fashion show should be more organically constituted through such a process. Fashion models should exert efforts to embody acts such as walking, posing and turning through the performance of their excellent role as well as develop a training program to complete it.

• Journal of The Korean Association For Science Education
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• v.42 no.5
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• pp.543-555
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• 2022

This study aims to identify the trends in 'Aesthetic Science-Education' research through bibliographic analysis and provide future implications for research in this field. To this research, 100 studies were extracted using the search function of the Web of Science provided by Clarivate Analytics. Detailed bibliometrics was analyzed using the Bibliometrix package of the R program. As a result of the analysis, the average number of papers increased from 1993 to 2022, and academic journals in which related papers were published were evenly distributed locally. As a result of keyword analysis, papers with top citations, author collaboration networks, and literature co-citation networks, Aesthetic Science-Education could be classified as inducing aesthetic experience by integrating art in science education, and categories using 'formalist aesthetic' and 'emotional response'. The implications derived from this study are as follows: first, the aesthetic aspects of science should be actively studied to emphasize 'Agency' and 'Active Learning' in future science education. Second, it is necessary to develop a new approach to science education by further utilizing the 'formalist aesthetic' of science in science education. Third, the aesthetic aspect of science can change the perception of the Nature of Science of teachers, pre-service science teachers, and students. Fourth, it is necessary to discover implications for utilizing aesthetic aspects in science education through extensive research on the aesthetic aspects of science for teachers, students, and pre-service teachers. This study is meaningful because it provides an overview of the 'Aesthetic Science-Education' research to realize the above implications.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.144-145
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• 2004

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.24-25
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• 2004

• Archives of Plastic Surgery
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• v.44 no.1
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• pp.86-86
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• 2017

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1999.03a
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• pp.67-71
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• 1999

• Science of Emotion and Sensibility
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• v.7 no.4
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• pp.7-17
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• 2004

Recently, design has emerged as a key factor of successful product development. This study reviewed the elements of form with a view point of addressing and defining the elements of aesthetics and how they influence consumer aesthetic response. Though past researches related to form aesthetics reported that form aesthetics exist as a single element with other sub-elements, this research made further investigations into form aesthetics and reported that form aesthetics in product design can be broadly divided into form aesthetics and content aesthetics. Empirical studies on each category was undertaken and from the results obtained, it was concluded that typicality is a dominant element in content aesthetics while balance is a dominant element in form aesthetics. Also, the study investigated the effect of conditional variables such as price and people on each category and it was observed that both content and form aesthetics elements are affected by conditional variables such as price, people. Furthermore, the study reports that both content and form aesthetics elements are mutually correlated and both categories affect user's aesthetics response. It is intended that the results obtained from this work will contribute to theoretical knowledge of aesthetic elements and can be put to use by product design and manufacturing companies.