• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.173-183
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• 2006

Design is inseparably related to aesthetics. In spite of that, it is difficult to explain the precise aesthetic variables that affect the aesthetic value of space or environment. Therefore, this study intended to find the relationships between aesthetic variables by perceptual and affective judgement for space design with focus on complexity and preference variables. The research found low level of 'arousing' as well as high levels of affective dimension variables 'pleasant' and 'relaxing' evoked high preference. High preference also appeared in space design cases with high unity, order, and clarity with low contrast and complexity, which are variables of perceptual dimension. Complexity, one variables of preference by Kaplan, is in an inverse proportion to space preference. Thus, space design with high complexity has high level of 'exciting' and 'arousing' affective responses and relatively low level of 'relaxing' response. Additionally, it was confirmed that the most importantly influential factor on complexity was diverse components rather than visual richness and ornamentation.

• Journal of architectural history
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• v.14 no.2 s.42
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• pp.103-142
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• 2005

All architectures in the history have certain attitudes of aesthetic expression of their own. Depending on the culture, such aesthetic attitudes are not the same but different. This paper aims to identify the nature of the difference of aesthetic attitude in the architectures of the East and the West. As a way of approach for this purpose, two keywords are employed as representative concept. They are: 'proportion' and 'vitality'. Proportion, of course, represent the attitude of the Western, while, vitality, the Eastern. Although these two words are subjective selection, it is hoped that the nature of aesthetic attitudes could be observed through the windows of these two representative concepts. We all know that the architects and students of architecture of this period, are very much concerned about the aesthetic expression of their design. However, the value judgement of aesthetic quality seems quite confused in modem period. If the nature of aesthetic attitudes of the Eastern and the Western architecture is well understood, such understanding will help much for the direction of architectural aesthetic of future architecture.

• Korean Institute of Interior Design Journal
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• no.20
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• pp.114-120
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• 1999

The study on architecture can be started with the aesthetic attitude which cognizes it as the art of the space. Architectural space as the subject of the aesthetical study, however, has been ignored such a long period though it should be centered of the whole architectural theory. Even it has not been dealt with independently but just only as a part of aesthetic or artistic field. Also it is true that academic approach to the architectural space as per the aesthetic cognition has not been done so satisfactorily. This study, therefore, aims at prescribing compositional scope from aesthetic cognition of architecture understanding the rational function, mechanic structure, and artistic beauty by man's subject standard of judgement as per the space, the special sphere of architecture. For the absolves, the architectural space in this study is not approached as the spatial art with the meaning of being included the arts general, but with the meaning of intrinsic peculiarity of architecture, based both in practicality of scientific concept and arts of the aesthetic notiov. In order words, the essence of architecture can be prescribed as the architectural realities as the functional, formal and symbolical space not simply the spatial art, and its real but aesthetic meaning can be cognized aesthetically.

• Smart Media Journal
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• v.3 no.3
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• pp.36-45
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• 2014

Based on the perception of Maurice Merleau Ponty, This study defines that Moving is a form lively to experience meaning, pleasure as the aesthetic attribute structured to a product, expression and value are synthesized into. The purpose of study is to argue that Wearable, Ubiquitous, Interaction, Play, D, I, Y, Universal, Ecology are the forms, modalities that the moving is variously subjected to the product design. Above This is the result reasoned according to analogical form as below between the moving and all design forms. First, The moving as the aesthetic expression and value are synthesized into is the intrinsic, general proposition, maxim for the value judgement. Second, All design forms are the cases which the values based on the aesthetic expression system are subjected to Third, Thus All design forms are the modalities of the aesthetic expression based on the values. The certainty of this judgement, reasoning is the proof that the correspondence between the moving as the aesthetic expression and design form is the fact. That is to say, It is the proof that Users lively experience the aesthetic meaning, pleasure in fact as the aesthetic values are subjected to all design forms. The lived experience of each user in their daily life itself is the only method or assurance for this. The moving integrates the existence of a product and what should be of users into the aesthetic dimension and at the same time, is realized based on this. The emphasized theme in all cases of this study is not the product but the moving. So, The product design is changed into the action which structures the moving like above to a product.

• Science of Emotion and Sensibility
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• v.14 no.3
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• pp.403-414
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• 2011

The current study examined brain regions associated with aesthetic experience to fractal images using functional MRI. The aesthetic estimations of the images showed that there is a general consensus regarding the perception of beautiful images. Out of 270 fractal images, fifty images rated highest(beautiful images) and fifty images rated lowest(non-beautiful images) were selected and presented to the participants. The two conditions were presented using the block design. Frontal lobes, cingulate gyri, and insula, the areas related to the cognitive and emotional processing in aesthetic experience, were activated when beautiful images were presented. In contrast, the middle occipital gyri and precuneus, the areas associated with experience of negative emotions, were activated when non-beautiful images were presented. The conjunction analysis showed activations in temporal areas in response to beautiful images and activations in parietal areas in response to non-beautiful images. These results indicate that beautiful images elicit semantic interpretations whereas non-beautiful images facilitate abstract processes.

• Journal of the Korean Society of Costume
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• v.38
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• pp.31-49
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• 1998

This study is the primary basic study about the spatial feature of modeling of Fashion Design. Then, this researcher lays significance in establishing the basic system about the character of dress and its ornaments as modeling in spatial-formal, dimension, examining the feature of modeling closely through perception principle and offering the basic principle to plan and organize the modeling space for dress and its ornaments on the basis of it. To generalize the findings is as follows : First, the spatial system of modeling for dress and its ornaments is made with 3 elements such as space, human beings and dress and its ornaments. Second, the form of dress and its ornaments and the spatial organization start from the structural basis which is human body, and the sensible system of body is made through inter-action, but the aesthetic expression is complet-ed by the moment of body. Third, the characteristic principle of model-ing for dress and its ornaments which was suggested in Chapter IV is based on the visuo-per-ceptional modeling experience, and these thinking contents are inputted in cognition course as the invisible in formation in the new space plan and organization and activate the apperception course and aim at the action about aesthetic judgement.

• Maxillofacial Plastic and Reconstructive Surgery
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• v.40
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• pp.20.1-20.10
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• 2018

Background: In the absence of clear guidelines for facial aesthetic surgery, most surgeons rely on expert intuitive judgement when planning aesthetic and reconstructive surgery. One of the most famous theories regarding "ideal" facial proportions is that of the golden proportion. However, there are conflicting opinions as to whether it can be used to assess facial attractiveness. The aim of this investigation was to assess facial ratios of professional black models and to compare the ratios with the golden proportion. Methods: Forty photographs of male and female professional black models were collected. Observers were asked to assign a score from 1 to 10 (1 = not very attractive, 10 = very attractive). A total of 287 responses were analysed for grading behaviour according to various demographic factors by two groups of observers. The best graded photographs were compared with the least well-graded photographs to identify any differences in their facial ratios. The models' facial ratios were calculated and compared with the golden proportion. Results: Differences in grading behaviour were observed amongst the two assessment groups. Only one out of the 12 facial ratios was not significantly different from the golden proportion. Conclusions: Only one facial ratio was observed to be similar to the golden proportion in professional model facial photographs. No correlation was found between facial ratios in professional black models with the golden proportion. It is proposed that an individualistic treatment for each ratio is a rather better method to guide future practice.

• Archives of design research
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• v.21
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• pp.149-158
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• 1997

Since Macintosh computer was introduced in 1984, important technological evolution has not only changed the computer graphics field but had a significant effect in the graphic design field for its judgement of aesthetic value. In Korea, the development of digital typeface and electronic pre-press business became active due to computer design system since Macintosh computer was introduced in 1987. Currently there are many digital type foundries in Korea and they have produced over 500 typefaces of the Korean alphabet. However, a few technological limitations and aesthetic problems still exist in the development of the Korean typeface. In this study, I have examined the role and function of computer technology in typography. Also I analyzed the aesthetic elements which are found in computer technology and compared them to traditional typography to try to find some opportunity and possibility for new method of development.

• Journal of Korean Academy of Nursing
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• v.32 no.3
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• pp.364-372
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• 2002

The purposes of this study was to find aesthetical-ethical paradigm of care ethics by understanding the unique moral character of care as an art and to suggest the optimal direction of nursing ethics. Method: This study used meaning-heuristic and -interpretive methods of hermeneutics based on philosophical aesthetic theory; Baumgarten's aesthetics, Schiller's theory of aesthetical education and Kant's theory of aesthetical judgement. Result: The concept of care implied aesthetical and ethical character; caring as an art was related to moral feeling based on human dignity und emotional communication in interpersonal-relationship. Caring as an art was interpreted as a moral ideal for the promotion of the humanity und the interaction in personal-relationship according to nursing theories. Philosophical aesthetics could provide the theoretical base for the interpretation of caring as an art. The proper paradigm of care ethics in nursing could be found in character-trait ethics and communication ethics according to the philosophical aesthetics. Conclusion: This study could show aesthetical-ethical paradigm of care ethics in nursing by the heuristic interpretation of caring as an art according to the philosophical aesthetics

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.19-33
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• 2002

Consumer involvement is one of the most important concepts in target marketing. Marketing managers seeking repeat business and a long term relationship with their consumers must understand the process underlying product evaluation. Therefore, the objective of this study was to find out the relationships between consumer involvement and product performance. Judgement sampling method through survey was utilized to collect the data and the subjects were 614 university students. Factor analysis, reliability test, and regression were used to analyze the data. The research results showed that there were three dimensions of product performance, so called, ‘aesthetic’, ‘utilitarian’, and ‘socio-interactive’. Consumer involvement was positively related to all dimensions of product performance. Understanding of the relationship between consumer involvement and product performance would contribute to build useful marketing strategies.