• International Journal of Internet, Broadcasting and Communication
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• v.14 no.2
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• pp.199-205
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• 2022

The purpose of this study is to investigate the causal relationship between the variables related to media sports violence viewing experience, negative emotion, aggression and violent imitation behavior of middle school students and high school students. The subjects of 240 middle school students and 240 high school students were surveyed for 2 months. Among the collected data, 64 samples judged to have low reliability were excluded from the analysis, and the final 416 data were used. The questionnaire used in this study consisted of four potential variables including experience of watching media sports violence, negative emotion, aggression, and violent imitation behavior. Among the sub-variables of experience of watching media sports violence, exogenous potential variables except frequency, period and time and questions that are endogenous potential variables were composed of a questionnaire of 5-point Likert scale. results of this study were analyzed using the AMOS statistical program, which was used to identify the causal relationship between watching media sports violence and negative emotion, aggression, and violent imitation behavior. There was no significant difference in violent imitation behavior according to school grade. The causal models for media sports violence viewing experience, negative emotions, aggression and violent imitation behavior were found to be appropriate. It was found that there was a significant causal relationship between the viewing experience of sports violence and the violent imitation behavior. Therefore, in order to reduce the imitation behavior of adolescents, it is necessary to be more careful about the production and viewing of sports violence programs at the institutions and homes that produce media.

• Korean Journal of Culture and Social Issue
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• v.28 no.1
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• pp.61-81
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• 2022

The study examined the relationship between other-dependent narcissism and road rage experience, and whether the relationship was mediated by maladaptive emotion regulation strategies. In addition, the study investigated whether the experience of road rage differed by gender, and the gender difference was mediated by maladaptive emotion regulation strategies. A total of 209 drivers including 107 males and 102 females completed an online survey composed of Two Dimension Narcissism Scale, Cognitive Emotion Regulation Questionnaire, and experience of road rage. The main results are as follows: first, blaming others and catastrophizing factors of maladaptive emotion regulation strategies mediated the relationship between other-dependent narcissism and road rage experience. Second, male participants had more experience of road rage than female participants, which was mediated by blaming others factor of maladaptive emotion regulation strategies. Finally, implications and limitations of this study were discussed.

• Science of Emotion and Sensibility
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• v.18 no.4
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• pp.47-58
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• 2015

Due to recent interest in user experience and its significance, much research surrounding this theme is now being conducted. If user experience is defined as the emotions and satisfaction the user feels while using the product, how much of such experience will contribute to the overall satisfaction of using the product? In this research, user experience during usage of a product and the satisfaction acquired by it were investigated. The same experiment was conducted in South Korea and the United States of America in order to get more generalized experimental results. Amongst the six representative user emotions expressed while using a product, 'Satisfaction in Usability', 'Discomfort or Displeasure', and 'Excellence' correlated the most. The above three factors were found to be of the most influence concerning satisfaction of the product. The significance of this finding is that aside from focusing on the attractiveness of the product's exteriors and design, one should be concerned on the ease of usage and effectiveness as well as usability of the product, all of which contribute to how efficiently a consumer will utilize the product.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.3
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• pp.395-409
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• 1994

Consumers experience various emotional responses to clothing in consumption process. These emotional responses are important in explaining consumer behavior of clothing. The Purpose of the study was to identify the types of emotion that consumers experience in the process of wearing clothes. A questionnaire consisted of 35 words expressing emotion was developed. 110 female college students were surveyed to find out consumption experience of clothing. The empirical study was conducted in two ways. One is that the subjects were asked to respond six-point unipolar scale of emotional adjectives to identify the various emotions that consumers experienced. The other is that four different wearing situations were described for the survey and then the subjects were asked to respond same questionnaire. The data surveyed for research were analyzed by factor analysis. The conclusion of empirical study was as follows. The types of emotion that consumers experienced at various situstions were: pleasure, arousal, unpleasure, aversion, dominance, sandness, security and tension.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.184-200
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• 2013

In post-industrial society, the ability to feel and express emotion is becoming ever more important. In diverse areas of our lives such as economic, social, political and cultural activities, we are witnessing an increased application of the emotional dimension. This paper deals with the human experiences in emotional designs. Literature reviews and case analyses have been used as the main research methods. I first examine the aspects of emotional experience in designs, and then go on to analyze the components of each aspect. Emotional experience in designs has three basic aspects : (a) initially there exist user's emotional needs (b) then these emotions are delivered through design, (c) finally, emotions expressed in designs are experienced by the user. Followings are the related components for each aspect : (a) Physiological, psychological, social and cultural factors cause one to feel emotional needs. (b) Emotion is delivered either through visual symbols, experience, interaction and participation. (c) Emotion is experienced by sensing, feeling, thinking, acting and relating.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.33-39
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• 2007

Designing emotion and product experience firstly require companies and individuals involved in NPD (New Product Development) to understand what user really want to receive from owning and using their product. Admitting this necessarily poses the following questions: Can a designer indeed plan for a particular emotion or experience? If yes, what factors must be devoted to designing the user's experience? How can the user's feelings and moods be measured when they use the product? The answer can be found in ethnographical design research.

• Korean Institute of Interior Design Journal
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• v.20 no.2
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• pp.94-101
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• 2011

As the existing paradigm of consumption has changed, companies have been actively engaged in targeting culture-oriented emotion, creating added values through appealing to customers' emotion and improving the values of culture and art. Each company has created differentiated space and inner space to lead trends, and has provided space for various experiences as an innovative marketing area to attract customers and promote consumption. In this aspect, we should focus on space marketing which considers cultural background or emotion as a main target Therefore, this study selected a cultural program as a strategic means to identify space marketing in terms of experience. The study speculated marketing in terms of space experience and analysed space for cultural programs with differentiated experiences in order to use the results as basic data for identifying the marketing values of the cultural programs and their uses. The results of the study are presented as follows: when space experience is a factor of marketing and the cultural program is a tactic in terms of marketing, their specific relations are speculated through a certain module. The order of using the cultural program for space experience, features of space representation and tactics for experience were different and the strategies evoked very complicated and mixed experiences.

• Journal of Information Technology Applications and Management
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• v.21 no.4
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• pp.35-50
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• 2014

This study examines the relationshipsbetween the antecedents of repurchase intention, with special interest in the role of appraisal emotion and recreation motivation for arts attendance. Appraisal emotion is found to have significant influence on perceived value while recreation motivation is found to directly influence appraisal emotion and perceived value. In a addition to customer satisfaction, peripheral service quality is the only factor that directly affectsrepurchase intention. Arts managers ought to focus on improving the whole experience of performing arts.

• Journal of the Korean Home Economics Association
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• v.45 no.7
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• pp.119-129
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• 2007

The purposes of this study were to explain consumer attitude and purchasing behavior, and coping strategy considering consumption emotions of technology and individual characteristics associated with high-tech products. The results of this study were as follows: consumer attitude was found to be somewhat favorable and a half of the respondents had some purchasing experience of high-tech products. Many consumers were more likely to perceive consumption emotion and some of coping strategies were found to be preferred to others. Then consumer attitude was found to be significantly influenced by some of the consumption emotion, while other individual characteristics were found to be insignificant. In addition, the purchasing experience was found to be significantly influenced by consumer attitude, marital status and education. Finally, each kind of consumption emotion might have a relation to several coping strategies.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.133-169
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• 2013

Reexamining Brecht's theoretical hypotheses in terms of cognitive science, this essay arrived at several temporary interpretations. Cognitive science implies that empathy can precede the rational understanding in Verfremdungseffekt. The spectator tends to simulate the unfamiliar incident and character and feels the consequential embodied emotion that leads to the cognitive understanding. The similar situation can be found in social gestus. According to cognitive science, gesture(social gestus) is simulated in the mirror-neuron of spectator, arousing consequently the embodied emotion that triggers the succeeding understanding. The spectator apts to experience and feel physically the moving gesture before decoding it as a social signification. Brecht's intention that attempts to reveal the duality of actor and character by eliminating the fourth wall is negated by cognitive science. According to the theory of conceptual blending, the spectator under the eliminated fourth wall mixes actor and character, and simulates this blending image so that he experiences it imaginatively. As such, another kind of illusion can be formed when a fourth wall is collapsed. Meanwhile, the critical thinking of spectator Brecht wanted can be hard to occur during the performance. It is necessary for the spectator to recollect the bygone dialogue and action in terms of social context as if he presses the pause, stopping the playback while watching a play in video. In this respect the social meaning Brecht intended can be achieved more effectively by the stop motion like tableau. It would not only give the time for the spectator to consider the implied social signification, but also make him possible to decode a semiotic meaning as if interpreting a still picture. Or it can be delivered by the dialogue that expresses the playwright's critical judgement. In this case, the subject of critical thinking is not the spectator but the author. The alternative explanation that the cognitive science suggests illuminates theoretically the reasons why Brecht's theory fails to be realized in practice. In a sense, Brecht's theory is nothing but a theoretical hypothesis. It takes the premise that the emotion hinders the rational thinking, understanding emotion and reason oppositively like Plato. This assumption is negated easily by the recent cognitive science that sees the reason as a by-product of physical experience including emotion. The rational understanding, in this sense, begins from the embodied emotion. As such the cognitive science denies the dichotomy of emotion and reason that Brecht adopted. The theoretical hypothesis of cognitive science makes us recognize again the importance of bodily experience in theatre. In theatre the spectator tends to experience physically before decoding the intellectual meaning. The spectator Brecht wanted, therefore, is far from the reality. The spectator usually experiences and reacts physically before decoding the meaning critically. Thus Brecht's intention can be realized by the embodied emotion resulted from simulation. This tentative interpretation suggests that we need to pay more attention to the empirical study of spectatorship, not remaining in a speculative study.