• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.112-126
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.

• International Journal of Contents
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• v.9 no.4
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• pp.92-101
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• 2013

Chinese auspicious element is a kind of art which is used to express yearning of a happy life. It is one of the great treasures of China, with not only emotional value of the people but also an aesthetic value. Chinese auspicious element derives from the aspiration of luck, enthusiasm of life and conciseness of eliminating malicious. It is of great cultural connotation and widely used in interior design, graphic design, fashion design and such. There are many research papers on application methodology of auspicious elements; however, there are very limited research papers on three-dimension product, let alone application in tableware. This paper focuses on illustration of Chinese representative auspicious element "auspicious fish" in tableware design. The research of its application of auspicious element's styling characteristics is of important significance in auspicious element spread and tableware design. This dissertation aims to provide referential design methodology and experience for later researches on related topic.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.153-164
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• 2017

This research concurrently conducts literature review and quantitative research methodology in order to compare aesthetic experience of and . From the perspective of viewing attitudes, two types of perception equally coexist in both exhibitions: convergent perception is predominant over distracted perception in IL while distracted perception is higher than convergent perception in MIE. However, the influence of convergent perception on the degree of satisfaction and immersion is proved only in MIE. In terms of roles of viewer, there is a tendency to weigh on passive role in both exhibitions. In particular, it is worth noting that the role is relatively high in MIE. The role of viewer do not correlate with on the degree of satisfaction and immersion, as well as modes of perception. The elements of aesthetic experience are highly rated and the use of previous knowledge acts as a positive influence on the role of viewers in IL. Through this study, we witness the fact that visitors who are familiar with traditional artworks depend upon both modes of perception as well as passive role of viewer in the digital exhibition. In conclusion, remediation through digital technology has blurred the boundary of the dichotomy of a viewing attitude and a role of viewer depending on exhibit media, consequently MIE bears both natures of traditional artworks and digital media.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.20-27
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• 2009

This study aims to understand the consumer consciousness of the interior design by experiencing the interior space of the model house provided by the construction company. For this, the author investigated the spatial images about the apartment interior design and the satisfaction level depending on the experiential elements. Survey questionnaires were distributed to people who visited six model houses. Subjects were asked about the experience about the interior space of the model house. Their response to the experiential elements was analyzed with 5-point Likert scale and was computed as frequencies, percentages, and means. For the spatial image characteristics, adjectives were substituted for the image scales. As a result, the author found out the following: First, the interior space was commonly directed to the soft image, which was mixed with modern, noble, decent, dynamic and natural styles depending on the companies. The trend of each interior design basically had static, soft and vague images, and partially had two kinds of tendencies: the one was mild and natural, and the other was modern and elegant. Second, as the strategic modules of the experiential marketing, five experiential elements were investigated to find the satisfaction level through the model house interior space. The emotional element got the highest point followed by the cognitive element and the active element, while the sensible element and the relative element got the lowest point. Third, consumer response was generally positive toward the model house interior design provided by the construction company. It is necessary to make up for the design that can give an aesthetic pleasure with familiar images, rather than give a firm recognition about the design.

• Journal of Korean Philosophical Society
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• v.142
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• pp.193-220
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• 2017

In times when identity-principles dominate through culture-industry, it appears to be the idea of the perfect identity-knowledge which Hegel had required for philosophy to become true. By being produced, cultures, according to the principle of production for production itself, became commodities which can be exchanged in the market. So what cannot be exchanged in the market is excluded as worthless and useless. As culture-industry gets rid of room for the new and the experience of it, the experience of what is new became impossible. In such degrees the consciousness is reificated, and the freedom as autonomy becomes an empty concept. But if there is not the freedom of will, conscious thought will not be possible, and human beings will degenerate into a simple species. Nevertheless, freedom which becomes meaningless in reality is an essential element for a human being to be human, so in the times when consciousness is reificated by means of the culture-industry, as the autonomous art awakens a reificated consciousness, it will be the antidote of a reificated consciousness which makes free thought and action possible. In this sense, this study will try to justify the aesthetic experience as shudder through the experience of what cannot be exchanged that becomes possible with critics regarding the constructive imperfection of identity-knowledge. Then it will argue that the aesthetic experience as shudder makes the autonomous art possible.

• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.116-125
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• 2017

The study is aimed to analyze cases of hotel room designs based on the 'Art Quotient'. It is focused on design elements of livability, analyzing the space design in terms of biophilic design and experiential marketing. This paper proposes a direction for hotel design based on the analysis result. The scope of the study includes the cases of 17 hotels in the area of Seoul achieving five stars in Korea. This paper presents an analysis whether the room space of hotels provide a user-oriented life experience from the perspective of biophilic design and experiential marketing. In this study, we focused on the concept of 'refuge', one of the biophilic design elements that express the value of life sense, and the element of 'sense', one of the strategic experiential modules of experiential marketing. After analyzing the hotel case studies, the space was evaluated using five factors of art quotient as a design method to provide a life experience in the hotel room. Analysis of the design space from the viewpoint of refuge, rather than architectural elements, proved that decorative elements appeared most commonly in all hotel rooms. Further, through an analysis based on the measures of 'sense', an experiential element, visual elements were mostly enforced in among the elements of the five senses. In other words, when designing a hotel room space, visual elements such as color, pattern, furniture, lighting and style are mainly utilized. Examining the analysis of the design elements from the point of view of the art quotient, the rooms of all the hotel's suite types include elements of 'communication'. Most of the hotel rooms focused on stimulating the aesthetic sensibility of customers. This resulted in the elements of 'immersion' showing poor results. In conclusion, it is necessary to provide the five senses of the arts index in a balanced manner to provide a life experience through the five senses.

• Journal of Communication Design
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• v.39
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• pp.82-90
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• 2012

The present study is focused on investigating the subjective viewpoint of users favoring Galaxy phones as an element for emotional experience designs, and Q methodology used for the study of subjectivity has revealed 3 types. The first type is a type pursuing reasoned actions with high expectations for the emotional quality through direct and indirect experiences of Galaxy phones. They were shown to place an emphasis on portability and usability while having a low preference for the shape of external forms and materials. The second type is a type pursuing planned actions with an emphasis on individual subjective perceptions as well as both of physical sensation and usability. They were distinguished as a type preferring pleasure and efficiency experienced by its use. The third type is a type pursuing differentiated personalities with an emphasis on messages they want to deliver to other people through the products owned by an individual. They were identified as a type emphasizing display of personalities through differentiation in aesthetic elements.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.64-72
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• 2014

As the importance of interface became emphasized recently, function of icon as an element that helps operation and formative function as an aesthetic element are becoming emphasized. Specially, various research methodologies for measuring the understanding degree of users are being attempted in functional aspect, however, they are facing limitations as user evaluation method of quantitative investigation for statistical analysis became overly dependent on the consent from majority. To overcome such limitation, a methodology of measuring sensibility as aesthetic impression or individuality based on the system of emotion or system of understanding of users and designing icon based on the measurement is being attempted continuously. Therefore, this study suggested an evaluation method using reminding words and conducted an empirical study to apply results on the icon design by applying the evaluation method on icon design of printing products to measure the user sensibility and understanding level. Through this process, this study intended to research summaries on the design evaluation method which based on the evaluation of user sensibility and understanding level and to debate effective design methodologies through the process of applying these summaries on the project. The intention was to progress discussion from practical application perspectives apart from the textbook type discussion by applying a research methodology through concrete cases. This study objectified sensibility and understanding level of users in the icon design aspect, suggested a methodology that can be applied on the design, and it is expected to be used when progressing the icon and GUI design.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.1-12
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• 2013

Korea's traditional Sokgasans(a artificial rock mountain) are elements of our excellent rock garden culture that have been inherited from Goryeo Era to Chosun Era. This study is to analyze how the culture of Sokgasans in the Goryeo and the Chosun Eras has been has been representated the implications and inherited in terms of historical aspects. Korea's traditional Sokgasans, which were created in the Goryeo Era by imitating the landscape of mountain ranges, created a small artificial mountain made of oddly shaped stones, imitating a real mountain. People in those days would reproduce mountain landscapes through a miniaturization technique, enjoying the pleasure of deep mountains and valleys as they lay on their gardens at home while having an aesthetic experience of the landscape that supported their emotional stability and healing. The inner side of these Sokgasan was intended to represent the world of the Taoist hermit with miraculous powers in terms of utopia, expressing 5 Ak mountains(Song Shan, Taishan, Huashan, Heng Shan and Hyeong Shan) where the mountain of 3 Gods(Youngju, Bongrae and Bangjang) wishing for 'No aging and living long' and idea of the Taoist hermit with miraculous powers are concentrated beyond the beauty of form in the landscape itself. In addition, people could refine their minds by practicing the Confucianist lesson of loving the mountain and water by watching the Sokgasan and imitating 'Famous mountains and lakes" from China and they had been changed and advanced embracing various implications in inner side of Sokgasans. Korea's traditional Sokgasans not only made it possible for people to experience aesthetic landscapes as a practical element of the scenery but also had deep symbolic implications that go beyond their formal beauty and were sublimated as an ideational space of unlimited imagination.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.