• 과학교육연구지
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• 제44권2호
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• pp.197-204
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• 2020

이 논문에서는 2차원 미학적 모델의 적합성과 유용성을 찾기 위하여 과학자들이 아름답게 생각하는 10가지 과학 실험들을 과학의 미학적 공간에 표상하였고 동시에 10가지 과학 실험을 바탕으로 과학 실험의 그림을 함께 제시하는 리커트 척도의 측정 도구를 개발할 수 있었다. 이를 통해 과학의 미학적 모델을 기반으로 과학의 본성을 지도하는 방안과 그 방안의 효과 측정에 대한 활용 가능성을 제안하는 바이다.

• 한국조경학회지
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• 제24권2호
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• pp.25-42
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• 1996

During the last two and a half decades, philosophical interest in the aesthetics of nature and environment has been gained momentum. One of the most coherent theories in this arena of debate has been developed over a series of articles by Allen Carlson. The purpose of this paper is to examine Carlson's theory critically and suggest an alternative aspect that remains untouched by his model. Briefly stated, Carlson's view of the appreciation of nature is that it is a matter of under standing nature under suitable scientific categories. His argument, based on the objectivist epistemology, is basically a disjunctive syllogism : a) The concept of appreciation, derived from traditional disinterestedness and Stolnitz's aesthetic attitude, provides an insight into the explanation of aesthetic appreciation of nature, and is objectivistic in the light of its object-oriented character. b) Nature must be appreciated as nature itself, and the natural environmental model is the appropriate loci of our nature appreciation. c) The paradigmatic form of our nature appreciation is order appreciation. d) There can be a correct and objective aesthetic judgment of nature, and the sources of guiding categories pertinent to it is natural science and natural history. In regarding nature as an environment and as natural, his natural environmental model is meaningful. Nevertheless, his stance results in some serious problems : a) The natural environmental model excludes certain very common appreciative responses to nature-responses of a less intellective, more visceral sort. Therefore, the arousal model with appropriate emotions might be one of our characteristic forms of nature appreciation. b) Even if we consider the scientific knowledge as an objective source of our nature appreciation, this gives rise to the question of whether the natural science can be objective or not. Is there an objectivist aesthetic appreciation of nature\ Does aesthetic appreciation of nature need to be science-based\

• 한국과학예술포럼
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• 제30권
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• pp.217-230
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• 2017

The purpose of this study is to develop a theoretical model identifying how consumers accept a fashionable technology product. A systematic review of 39 influential TAM studies focusing on theory development in the context of information technology results in three tendencies, which become backbone of the model of fashionable technology acceptance. A subsequent review of the nature of fashion fleshes out the backbone with detailed propositions in the more specific context of fashionable technology. The model of fashionable technology acceptance includes key propositions of Theory of Reasoned Action, in which internal beliefs consist of functional, aesthetic and symbolic values, and other factors, such as technology features (i.e., hardware specification, software specification, brand, and price factors), environmental conditions (i.e., technical infrastructure and user occasion), individual differences (i.e., age, gender, experience, personality, aesthetic sense, fashion innovativeness, and income), and social influence (i.e., subjective norms, social reputation, and cultural difference). Implications, limitations, and suggestions for future research are also discussed.

• Archives of Plastic Surgery
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• 제45권2호
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• pp.111-117
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• 2018

Background Fat grafting, or lipofilling, represent frequent clinically used entities. The fate of these transplants is still not predictable, whereas only few animal models are available for further research. Quantum dots (QDs) are semiconductor nanocrystals which can be conveniently tracked in vivo due to photoluminescence. Methods Fat grafts in cluster form were labeled with cadmium-telluride (CdTe)-QD 770 and transplanted subcutaneously in a murine in vivo model. Photoluminescence levels were serially followed in vivo. Results Tracing of fat grafts was possible for 50 days with CdTe-QD 770. The remaining photoluminescence was $4.9%{\pm}2.5%$ for the QDs marked fat grafts after 30 days and $4.2%{\pm}1.7%$ after 50 days. There was no significant correlation in the relative course of the tracking signal, when vital fat transplants were compared to non-vital graft controls. Conclusions For the first-time fat grafts were tracked in vivo with CdTe-QDs. CdTe-QDs could offer a new option for in vivo tracking of fat grafts for at least 50 days, but do not document vitality of the grafts.

• 치위생과학회지
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• 제15권5호
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• pp.636-641
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• 2015

본 연구의 목적은 승무원의 구강건강과 심미적 관심도에 관한 연구로 A항공사에서 근무하는 승무원 314명을 대상으로 2014년 6~7월 동안 자기기입식 설문으로 조사되었다. 사용한 도구는 건강과 구강건강 인식, 구강건강관리, 외적이미지, 외적이미지가 직장생활에 미치는 영향이다. 수집된 자료는 PASW Statistics 18.0을 이용 하여 분석하였다. 연구결과 연령별, 경력별 구강건강 인식에 유의한 차이가 있었고, 교육수준별 삶의 질 인식에 유의한 차이가 있었다. 외적이미지가 직장생활에 미치는 영향은 연령별 유의한 차이가 있었으며, 외모관리 연간 지출비는 성별, 경력별, 소득 집단에서 유의한 차이가 있었다. 승무원은 구강건강이 전신건강보다 건강하지 않다고 인식하고 있어, 외적이미지에 구강건강이 주요한 영향요인이며, 심미증진을 위한 주기적 예방처치 및 심미처치를 시행하고 있었다. 그러나 직무 특성상 구강관리 자가평가가 낮게 조사되어 구강관리 행위 실천을 위한 방안모색이 요구된다. 또한 구강관리가 전신건강을 유지하는데 필수적인 만큼 이에 대한 관심 증대가 요구된다.

• 디자인학연구
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• 제14권4호
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• pp.47-56
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• 2001

본 연구는 심미적 영향요소 중 전형성과 동시에 중요하게 인지되는 또 다른 속성 즉 비례(proportion)를 중심으로 소비자가 선호할 수 있는 디자인을 창출할 수 있도록 하기 위하여 제품의 범주화와 제품 형태분석을 통해 제품에 대한 이상적 비례를 도출해 냄으로써 비례의 조작만으로도 소비자가 선호할 수 있는 차별화 된 제품디자인을 위한 방법론을 구축하고자 한다. 이에 본 연구의 연구방법으로는 시중에 판매되는 제품들 중 비례가 중요하다고 인식되는 제품을 가지고 전형적 모델을 찾아 치수를 유추시켜 2차 자극물을 만들었다. (즉 전형적 모델에서 일정한 치수 변화를 주어 2차 자극물을 만들었다.) 이후 2차 자극물을 동질성분석을 통해 대표적인 2차 자극물들로 실험을 하여 그 제품에서 가장 이상적인 비례를 찾았다. 이후 황금 비례와 이상적 비례와의 관계를 살펴보고 제품들마다 이상적 비례는 따로 있음을 증명하였다. 즉 결론은 "신제품 개발시 비례는 주어지는 규격이 아니라 찾아내어야 할 선호 요소 중 하나이다"라는 것이다.

• 한국경영과학회지
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• 제32권2호
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• pp.17-40
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• 2007

Most research on web site design has focused on technological factors, while visual aesthetic factors have been considered less important. In contrast, this study focuses on visual aesthetic factors in web site design. Findings of this study can be summarized as follows : (1) The result of SPSS-factor analysis shows that there are 3 distinct factors, 'classical aesthetics', 'expressive aesthetics', and 'usability' 'Classical aesthetics' and 'expressive aesthetics' can be described by visual aesthetic design, 'Visual aesthetic design' can be distinguished from 'usability'. This conceptual confusion relating to 'usability' and 'visual aesthetic design' can be clarified by these findings. (2) As a result of multiple regression analyses, 'classical aesthetics', 'expressive aesthetics', and 'usability' have a positive influence on 'interactivity' and 'web site evaluation'. This research clarifies the concepts of 'expectations' of Grier [18] and 'engagement' of Rosen and Purinton [33] as the 'interactivity' between users and web sites. Furthermore, this research suggests a valid model with high $R^2$(interactivity, 48% : web site evaluation, 68%). (3) Empirical tests show that the differences among users in 'entry point' are related to the characteristics of web sites and the personal characteristics of users. The differences among users in terms of 'scanning time' are closely related to the attitudes and evaluation tendencies of users with respect to web sites. These findings could contribute to the 'search phase' of the Faraday model [16], enabling it to be more precise and extensible. The managerial implication of this study is that customers' preferences regarding web site designs are differences, as their preferences are based on their individual characteristics. Therefore, marketing managers should consider promotional tools on web sites that are relevant to the target market. An optimal strategy for web design could be a carefully-selected combination of factors that are relevant to the 'interactivity' and 'evaluation' of web sites. Additionally, if marketing managers want to attract more favorable attitudes and more affirmative evaluations from users, web sites should be designed so that they are understood more quickly by users. finally, this study suggests that 'good design' for web sites depends on understanding how to attain the appropriate balance between 'classical aesthetics' and 'expressive aesthetics', based on the target customer.

• 디자인학연구
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• 제19권2호
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• pp.15-30
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• 2006

본 연구는 제품 심미성을 바탕으로 하며, 기존에 연구된 여러 연구들과 달리 심미성 차원들 간의 관계를 파악하고 이들의 변화에 따라 선호도가 어떻게 변화하는지를 연구하였다. 연구 방법은 실험을 통해 여러 심미성 요소들 중 단순/복잡과 균형을 선택하였으며, 이를 이용 시중에 사용되는 제품들을 FCB Grid를 통해 4개의 그룹으로 묶었다. 이후 이들에 각 그룹을 대표하는 2개의 제품을 선정 하였고 이들의 전형적 모델을 찾았다. 이 전형적 모델을 가지고 단순/복잡과 균형만을 가지고 변화를 시켜 자극물들을 제작하였으며, 이렇게 제작한 자극물을 가지고 단순/복잡, 균형 그리고 선호도의 관계를 증명 하였다. 또한 선호도의 정도값 변화를 측정하여, 디자인 개발 시 기초 자료로 제공하고자 한다. 차후 연구로 이러한 연구 과정을 통해 여러 심미적 차원들 간의 관계를 증명하고자 한다.

• 한국실내디자인학회논문집
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• 제13권2호
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• pp.10-19
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• 2004

In order to attain unique aesthetic value, diversity of meanings of Fusion Design, 'openness', requires meaning interpreting process(communication) which harmonizes and combines new codes suggested by authors(senders) and codes interpreted by public(receivers). For this harmony, we should consider all the art aspects(integration of synchronic and diachronic, anti-rationalism ideology, negative concept) that are bases of creativity of Fusion Aesthetics. Moreover, we can approach open thought system of Fusion Design through theories of Entropy and Rhizome. This point of view which allowed a categorical means of natural science theory to be used in design context changed a methodic or interpretative perception. Not only in art interpreting process does Fusion Design take openness as one of its necessary factors but also in creating process, which enables a work of art to be opened at the maximum. In conclusion, the significance of fusion design is to suggest an ideal model of communication abstracted from open art works.

• 조형예술학연구
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• 제5권
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• pp.159-174
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• 2003

'Fantasy', the central notion of this essay, is discussed here more as a new paradigm in order to describe the structure of a work of art than as a stylistic characteristic proper to a specific genre of art. It means the whole situation and experience produced by two connected terms 'corporeal subject - screen'. Roland Barthes explained the 'semiographic painting' by Andre Masson as a field in which happens a certain connexion between the impulse of subject and the image, which views the painting not as a physical object but as a 'cinematic screen' ; painting may be redefined as a dream or a fantasy of the corporeal subject. And such an idea of 'art as fantasy' is closely related to the recent theoretical attempts consisting in abolishing the vision-centered conception of art since Renaissance. In this essay, the notion of fantasy as an aesthetic model is sketched by means of the Freud's notes on the fantasy 'A child is being beaten' and Lyotard's more advanced analyse on its attributes and operations. In Lyotard's analysis, fantasy is defined as a 'bloc' or a 'matrix-figure' featuring simultaneous conversion between the active and the passive, sadism and masochism, and coexistence of imcompossible meanings. In this sense, fantasy may be given to us as an analogical model from which we can outline the aesthetic characteristics of electronic media art involving virtual reality and interactivity.