• Journal of the Korean Society of Costume
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• 제57권9호
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• pp.32-48
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• 2007

This study analyzed image components of make-up image between fashion and advertisement of Christian Dior, also, this study examined, compared and analyzed their aesthetic characters. Then, it researched whether brand image was shaped exactly as the same method or not. The study was theoretical and established method; using more than a graduate student-major in clothing and make up, survey$(2004.5{\sim}6.)$ and SPSS 10 program statistics method. As the results, in Dior fashion and make-up, this study analyzed the factors of shape, color, material and texture, and both of them indicated the aspects of chic, classic, gorgeous and romantic image. Also, consumers understood them as a same image. This demonstrated that Christian Dior fashion and make-up have been shaping toward a same image as a same meaning.

• Archives of design research
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• 제15권4호
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• pp.169-176
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• 2002

All kinds of artwork, including multimedia and digital image that has been subliminated into an af mediating two numbers 0 and 1 in recent age, are self-sufficient and autonomous in themselves. Nevertheless, each of those artworks can be realized as a real entity only if its appreciator is capable enough to explore some potential meaning out of it through his or her own perceptual work. According to Mikel Dufrenne, an artwork is composed of three existential tiers: "le sensible" or the sensible material; "fe representation" or the subject(le sujet), and "1′expression." Dufrenne contends that our esthetic perception can be realized by way of three steps that are comparable to those three tiers: perception of the presence of the body("le sensible"), contemplative perception by way of imagination("le representation"), and reflective perception ("1′expression") as a result of dialectics of sense and sensibility. This paper argues on the aesthetic perception with regard to digital image expressed by two numbers 0 and 1, putting focus on the epistemological role of sensibility(감) that explores "1′expression" a la Dufrenne.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 한국감성과학회 1999년도 춘계학술발표논문집 논문집
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• pp.39-44
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• 1999

The purpose of this study was to extract emotional dimensions from Korean adjectives relating to apartment noise. Noise-related 296 Korean adjectives were extracted from a dictionary and three evaluators selected 96 adjectives from those by removing very similar ones in meaning. Two types of 96 7-point scales were conducted to college students for evaluation, whether each adjective describes apartment noise appropriately. From this evaluation, 28 adjectives having above 4.5 points were selected. Again, 8 different types of 7-point scales on 378 adjective pairs(28 x 27/2) were administrated to separate college students to evaluate the degree of similarity between 28 adjectives. Based upon this evaluation, 14 adjectives were finally selected and scores on similarity sere analyzed through two different statistical analyses (Multi-dimensional scale and Cluster analysis). The results showed that three dimensions (displeasure, sensitivity and perceived loudness) exist in peoples' emotional response state to apartment noise. The previous studies have treated annoyance and sensitivity as separate measures to noise. However, this study showed that these two factors were on the same emotional dimension labeled as 'sensitivity' In addition, new dimension, labeled as 'displeasure', was found.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 한국감성과학회 2007년도 춘계학술대회 및 국제감성 심포지엄
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• pp.91-94
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• 2007

현대의 디자인에서 가장 주목할 특징은 Convergence, 즉 융합적 사고 전개이며 그 외적형식이 감성디자인이다. 즉 감성의 지표인 니즈를 통하여 디지인 기획단계에서부터 최종 소비까지 사용자의 감성을 고려한 총체적 메카니즘을 말한다. 따라서 감성디자인은 감성에 대한 연구가 필수적이다. 그럼에도 불구하고 감성에 대한 기존의 연구에서, 감성은 직관적이지만 모호한 것이었다. 그러나 학제간의 연구성과에 힘입어 감성은 이성의 상반적 개념으로 지각, 쾌감과 감정을 외연으로 갖으면서 인간지성을 매개하는 심의의 능력인 것이다. 이때 감성은 니즈의 통계학적 분석에 의한 평균값이 아니라 기호해석의 구조적 강제성에 의하여 보편성을 획득하게 되어 실천적 행위로써 디자인 프로세스를 거쳐 다시 감성의 출발지인 소비자에로 이행하는 순환적 고리를 형성하게 된다. 이것인 감성디자인의 의미전달의 구조이다.

• Science of Emotion and Sensibility
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• 제1권2호
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• pp.1-11
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• 1998

최근 감성연구의 한 측정 방법으로 의미변별 기법을 이용해 형용사를 제시하는 연구가 증가하고 있다. 본 연구는 의미변별 기법을 사용하는 감성 연구의 기초적인 연구로서 우리말 형용사의 전체적인 의미구조를 분석해 보았다. 우리말 형용사의 의미구조는 기존의 다른 언어권에서 얻은 연구결과와 거의 일치하는 것으로 나타났다. 전체 형용사의 의미구조는 다섯 요인으로 나타났으나, 기존 연구들과 마찬가지로 세 요인이 주요 요인으로 작용했다. 한편, 이러한 의미구조가 색채라는 특정 자극과 관련해서 나타나는 의미구조를 파악하기 위해 NCS단색과 형용사 쌍을 사용하여 측정하였다. 색채 이미지와 관련된 형용사의 의미구조도 세부적인 차이는 있으나, 첫 연구에서 발견된 결과와 크게 다르지 않았다. 감성의 표현수단으로서 어휘를 고려할 때, 이 결과는 사용하는 어휘가 다를지라도 기저에 있는 의미구조는 문화에 상관없이 보편적이라는 것을 제시한다. 다시 말해 어휘로 표현되는 감성의 기본구조가 공통적일 수 있음을 제시한다.

• The Research Journal of the Costume Culture
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• 제13권3호
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• pp.391-405
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• 2005

This study puts emphasis on showing the change of Stripe Pattern, which has been popular for a long period of time in many societies, with change in time, assessing its value as an art. During medieval period, Strife Pattern had a strong negative meaning as a sign of disgrace or inferiority, or had been used as discrimination against a mental or a sinner, who had been rejected or banished from the society. Through French Revolution, Stripe Pattern has become a symbol of liberty and equality, furthermore, the notion of society as well as countries. This event had positively affected on reevaluating its image, from inferior, negative to significant, artistic. Eventually the variety of aesthetic values of Stripe Pattern led its way to the variation of its functional value expanding its use other than fashion industry. It is anticipated that our fashion industry will flourish in creating new, creative design by understanding design and appreciating their aesthetic values with their applications to human sensibility.

• The Journal of the Convergence on Culture Technology
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• 제7권2호
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• pp.303-308
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• 2021

This paper deals with the meaning of seeing in John Ruskin's aesthetic theory. For Ruskin, seeing is the essential key to define moral insight. To consider the relationship between the education of sight and the delight from experience of seeing in nature within Ruskin's moral thought, I analyse Ruskin's various lectures and texts, including Modern Painters, The Story of Halcyon, Of the Science of Light, Proserpina, and Praeterita. The first section of the body investigates the relations among pleasure, thought, sight which compose Ruskin's moral ecology, and then the second section traces the theoretical logic formed the concept of seeing as moral perception of human being. The third section demonstrates correspondence between aesthetic experience of pleasure and the way of seeing as an education for the mystery of Nature and God. After these theoretical processes, this paper finally insists that seeing is the factor of formation of an ecological sensibility corresponding with development of moral perception generated within the hierarchical structure of human-nature-god.

• Science of Emotion and Sensibility
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• 제24권3호
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• pp.91-114
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• 2021

The first step of this study is to collect appropriate words from the list of words in the relationship. All vocabularies that are unfamiliar-but capable of guessing the meaning and expressing interpersonal relationships-were collected from three Korean dictionaries. Consequently, a compilation of 2,725 words was created; overlapping words were selected; and 910 words were chosen. Only grammatical forms were found; however, words with similar meanings-or identical meanings-were also found, and a reclassification process was required to reflect this. These procedures were repeated seven times, resulting in a total of 249 words being screened. However, due to the characteristics of this study, the number of words needs to be reduced because the meaning of words is more specific and summarized, and the overall interpersonal aspect is well expressed. Therefore, the process of reclassifying 249 words by their familiarity and appropriateness was subsequently undertaken, and the word with the highest level of familiarity and appropriateness was finally selected.

• Science of Emotion and Sensibility
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• 제8권1호
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• pp.75-83
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• 2005

Cyberspace is on its way to experience dynamic change, hereby encompassing technical and social diversities and multiplicities. The internet, with a history of no more than 10 years, has drastically changed the way, meaning and conduct of our lives, the structure and function of society and communication. Even in psychology, in which the purpose is to scientifically look into the human mind and explore its behavior, the in-depth inquiry into the human behavior and psychological features of the cyberspace have become an increasingly important issue. Research suggests that psychological features and concepts brought about during the process of communication in cyberspace have been influenced by the digital mode following the analogue one, and by the online mode following the off line one. It also suggests that, with new issues peculiar to information society, cultural structures should be re-conceptualized, reconstructed and reevaluated in various fields. This approach to the changing role, meaning and style within society should be rearranged and referred to as cyber psychology.

• Science of Emotion and Sensibility
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• 제21권3호
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• pp.115-128
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• 2018

Tibetans who live in the Tibetan highlands, the Roof of the World, have their own unique lifestyle wherein they conform to its long history, natural environment, and their own form of clothing culture. In their costumes, the use of colors, patterns and designs express religious meaning and represent the hopes and heart of life, which respects nature. This study aims to analyze the colors used in Tibetan costumes and examine the meaning of these colors. In addition, this study intends to understand the specificity of Tibetan culture through a consideration of the symbolism of the colors of ethnic costumes. By examining the literature and conducting case studies, colors of Tibetan costumes were analyzed through the I.R.I HUE-TONE system. We analyzed 96 photographs of the costumes photographed during the Tibet ceremony costume, photographs seen at the Qinghai Tibet Culture Museum and photographs from the Internet museum. The results revealed the following: First, the most important element of the costumes is connected to the five colors of JangOsaek, which gives meaning to each color. Red, navy blue, yellow, white and green symbolize fire, the sky, earth, clouds or snow, and grasslands, respectively. Second, Tibetan costumes are characterized by bold color contrasts such as red and green, black and white, red and yellow, and yellow and purple to achieve an intense harmony of colors. Third, these fancy costumes express the unique aesthetics of the Tibetan people. The primary colors follow general emotions, but they can also include their own emotion.