• Science of Emotion and Sensibility
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• v.25 no.3
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• pp.107-116
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• 2022

Purpose: Researchers have shown that aesthetic judgments of artworks depend on contexts, such as the authenticity of an artwork (Newman & Bloom, 2011) and an artwork's location of display (Kirk et al., 2009; Silveira et al., 2015). The present study aims to examine whether contextual information related to the creator, such as whether an artwork was created by a human or artificial intelligence (AI), influences viewers' preference judgments of an artwork. Methods: Images of Impressionist landscape paintings were selected as human-made artworks. AI-made artwork stimuli were created using Google's Deep Dream Generator by mimicking the Impressionist style via deep learning algorithms. Participants performed a preference rating task on each of the 108 artwork stimuli accompanied by one of the two creator labels. After this task, an art experience questionnaire (AEQ) was given to participants to examine whether individual differences in art experience influence their preference judgments. Results: Setting AEQ scores as a covariate in a two-way ANCOVA analysis, the stimuli with the human-made context were preferred over the stimuli with the AI-made context. Regarding the types of stimuli, the viewers preferred AI-made stimuli to human-made stimuli. There was no interaction effect between the two factors. Conclusion: These results suggest that preferences for visual artworks are influenced by the contextual information of the creator when the individual differences in art experience are controlled.

• Journal of architectural history
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• v.20 no.4
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• pp.45-60
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• 2011

The purpose of this paper is to research Gunnar Asplund's Woodland Chapel (1918-20) in terms of the revernacularization of classicism and to investigate into the matter of the constructional logic. The term 'revernacularization of classicism' was used by Alan Colquhoun to explain the process to return to the pure sources of classical architecture, and the case of a successful fusion of classicism and vernacular traditions was suggested by Demetri Porphyrios through Scandinavian Doricist sensibility in the early 20th century. Porphyrios's classicism, not as style but as sensibility, is premised on a constructional logic of vernacular, and is to achieve an aesthetic quality by its mythical elaboration. Woodland Chapel, a representative of the Scandinavian Doricism according to him, illustrates characteristics of the revernacularized classicism as in the fact that it thickly displays vernacular images at the same time as relying on classicism; in the return to primitive simplicity; and in the mythopoeic power. However, the constructional logic of this building was obscured in the capital of the portico columns, the interior dome, and the whole structure of the roof. Confronting this paradox, we have to remember that although Porphyrios emphasized the constructional logic he opened an aesthetic exit of the mythical elaboration, which is in accord with the concept of the tectonic as the poetics of construction. Woodland Chapel assumes atectonic features but is never anti-tectonic. Asplund intensified a poetic effect by setting the myth over construction in the chapel, and so it can be seen as a key example of the revernacularized classicism with the Doricist sensibility.

• The Journal of the Korea Contents Association
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• v.15 no.11
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• pp.1-9
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• 2015

Emotion recognition and regular controls are concentrated interest in computer studies to emotional changes. Thus, the quantified by objective assessment methods are essential for application of color sensibility computing situations. In this paper, it is applied to a digital color image emotion emotional computing calculations numbered recognized as one representation. Emotional computing research approach consists of a color attribute to the image recognition focused sensibility and emotional attributes of color is the color, brightness and saturation separated by. Computes the sensitivity weighted according to the score and the percentage increase or decrease in the sensitivity property tone applied to emotional expression. Sensitivity calculation is free-degree (X), and calculates the tension (Y-axis). And free-level (X-axis) coordinate of emotion, which is located the intersection of the tension (Y-axis) as a sensitivity point. The emotional effect of the Russell coordinates are utilizing the core (Core Affect). Tue numbers represent the size and sensitivity in the emotional relationship between emotional point location and quantified by computing the color sensibility.

• Science of Emotion and Sensibility
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• v.23 no.3
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• pp.47-62
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• 2020

The snake detection theory posits that, due to competition with snakes, the primate visual system has been evolved to detect camouflaged snakes. Specifically, one of its hypotheses states that the subcortical visual pathway mainly consisting of koniocellular cells enables humans to automatically detect the threat of snakes without consuming mental resources. Here we tested the hypothesis by comparing human participants' responses to snakes with those to fearful faces and flowers. Participants viewed either original images or converted ones, which lacked the differences in color, luminance, contrast, and spatial frequency energies between categories. While participants in Experiment 1 produced valence and arousal ratings to each image, those in Experiment 2 detected target images in the breaking continuous flash suppression (bCFS) paradigm. As a result, visual factors influenced the responses to snakes most strongly. After minimizing visual differences, snakes were rated as being less negative and less arousing, and detected more slowly from suppression. In contrast, the images of the other categories were less affected by image conversion. In particular, fearful faces were rated as greater threats and detected more quickly than other categories. In addition, for snakes, changes in arousal ratings and those in bCFS response times were negatively correlated: Those snake images, the arousal ratings of which decreased, produced increased detection latency. These findings suggest that the influence of snakes on human responses to threat is limited relative to fearful faces, and that detection responses in bCFS share common processing mechanisms with conscious ratings. In conclusion, the current study calls into question the assumption that snake detection in humans is a product of unconscious subcortical visual processing.

• Science of Emotion and Sensibility
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• v.13 no.1
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• pp.259-268
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• 2010

This modern society is said to be more typical of an emotional society. In such a society, emotional design adds value to products, hence bringing about value-enhanced products. Despite many claims of little substance about emotional design, there have been only a few researches that have identified what criteria to be applied to distinguish between emotional products and generic products or even have clearly defined what emotional products are. This leads to a clear need for providing more definite criteria for defining and classifying design elements useful and available for users. To fill the gap, the purpose of this study is, first, to explore the relationship between evaluation elements for creative design and emotional design, and, based on that, identify some of the most importantly valued elements, and secondly, to examine how the images importantly used for expression relate to creativity evaluation elements according to classified types of design. In this study, chosen products were presented to selected users so that they can choose what they think possesses emotional design elements. Then the products so chosen were classified according to design type for examination of their respective relationship with creativity evaluation elements. In addition, the identification was performed of perceived design images about the selected products and the relationship between those images and creativity evaluation elements. This study is expected to provide a chance to be aware of the fact that essential creativity evaluation elements can vary depending on changing times, environments, and users, and as well, to offer an insight into what images design should be possessive of for it to be preferred by consumers.

• Science of Emotion and Sensibility
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• v.15 no.1
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• pp.87-96
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• 2012

This paper proposes a Image retrieval system that searches the closest images to the user's emotional need and displays images with higher ratings of color harmony from Moon-Spencer's Color Harmony Theory first. Once an emotional adjective is placed, the system searches for images with colors that contain more elements derived from Aesthetic Measure results and displays in such order. In order to test reliability of the proposed emotion retrieval method based on Moon-Spencer's Color Harmony Theory, this study compared the order of Aesthetic Measure results with the user satisfaction ratings using 200 sample images. The analysis demonstrated that the participants' average satisfaction on 15 emotion adjectives selected for the study was 5.0 on a 7-point Likert scale. Correlation analyses were performed to test the consistency the orders between Aesthetic Measure values and user satisfaction ratings. Positive correlations above R=.5 were observed in all 14 emotion words except "Clear". These findings prove the potential of the proposed emotion retrieval system based on Moon-Spencer's Color Harmony Theory to effectively reflect user emotion in such visual stimulus search as image database.

• Journal of the Ergonomics Society of Korea
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• v.35 no.6
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• pp.535-550
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• 2016

Objective: To enhance user experience of the product by using "wow" materials and parts, a framework for participatory emotional design and evaluation was proposed and validated through a case study in this paper. Background: Customers in recent days value a product which provides new feeling and images they want to get while interacting with it beyond its function, quality, and usability. Since the product consists of various parts and materials, "wow" materials and parts which can affect the customer's feeling and emotions are the essential components for changing the user experience. Method: A framework for participatory and human sensibility ergonomic design was considered and applied on developing the aesthetically and emotionally affecting glass panels of changing colors. Design experts defined a target market for this multicolor glass panels and modified the existing designing goal. Constraints for this design modification were identified by market trend research and consulting with the company which owns the technology for checking out its feasibility. The company developed and provided prototype samples as well as their competing materials. Quantitative and qualitative evaluation of the emotional quality was conducted to validate whether the design goal was achieved successfully. Results: The target market for the developing materials was defined as finishing for the buildings. The designing goal was set as to feed new visual sensation of clean and colorful images. The emotional quality of two different types of multicolor glass panels and an ordinary unicolor panel were evaluated quantitatively with semantic differential method. Results showed that the emotion of the subjects for the multicolor glass panels can be abstracted into two dimensions; named 'colorfulness' and 'harmony'. It was found that the developed samples got higher scores in emotional quality for both dimensions compared to the ordinary one. Age was found to be a significant factor for evaluating the emotional quality of colorfulness. Conclusion and Applications: The proposed framework is a valid approach for enhancing the user experience of the product by participatory design of emotional materials and parts. This framework can be applied easily on the emotional design and evaluation of different materials and components.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.34-47
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• 2008

Recently, as popular interest in costumes in Korean films and TV dramas has increased, traditional dress in works has re-evaluated with modern perspective of the Western color system. The results of this study can be summarized as follows. First, the traditional dress for women appeared in works after the 2000s has shown features similar in the use of red has appeared high. The high frequency of brown and pink, orange and purple used main colors in Western works. Also, what is the most prominent is the high frequency of use of achromatic colors. Second, the color harmonies of the East and the West have been done through color arrangement. The structure with more than 2-colors has been gradually changing into single or 2-colors, which give simple images to people. Third, in order to portray characters' diverse and psychological situations, Korean works have expressed the symbolisms of colors from the Western perspective. Though red symbolizes theory of Yin-Yang and Five-Elements, passion and authority since 2000 have used red to make main images. Also, pink is used as softness and pure images. Though works before the 2000s showed low frequency of the brown. The achromatic color that it has been applied to various parts. Recently black has been developing into a color symbolizing themes. Given the results from this study, it could be expected in future that the categories of color domains will be gradually extended as it is a trend for the traditional dress to escape from primary colors. On the other hand, achromatic colors that minimal and modern sensibility as well as basic color in fashion, especially the black, will increasingly extend ranges of utility or show a tendency of resolute changes.

• Science of Emotion and Sensibility
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• v.19 no.2
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• pp.101-112
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• 2016

Selecting appropriate materials can be significantly important to make different image in the product and also give distinguished express to the users. A material for the ceramic product surface consists of the combination between a glaze and a body, and each attribution of materials and the way of the combination creates different texture and color. This study analyzes the difference between visually and tactually sensibility of ceramic surface to through the simulating both visual and tactual stimulation by verbal evaluation method. Totally 13 adjectives are selected from homepage of local and global ceramic product brand. And totally 12 ceramic samples are created with the consideration of color, glossiness and roughness. These 12 samples are the combination between four ceramic bodies (White porcelain, Celadon_c, Sancheong and Black soil) and three glazes (Transparent, Celadon_g, Black glaze). The respondents of first survey were asked to rub, touch and hold before evaluating the sensibility of ceramic surface and other respondents of second survey were asked to evaluate visual images of 9 samples which showed meaningfully difference from first survey. The surface which scored the highest sensibility with the first survey was 'pure' on a surface of White porcelain body with Transparent glaze, and the lowest was also 'pure' on a surface of Black soil body with Transparent glaze. The highest score in the second survey was the same result as the first survey, but the lowest scored 'casual' and the surface was Black soil body with Celadon glaze. By the comparison with two survey results, not every sensibility is same result shown as the first survey and the second survey, but the tactile sensibilities such as 'artistic', 'luxurious', 'sensuous', 'romantic' and 'mysterious' can be experienced by via visual materials of ceramic surfaces.

• Science of Emotion and Sensibility
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• v.14 no.3
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• pp.347-360
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• 2011

To find out characteristics of TV home shopping's virtual space deepness styling, this study had analysis characteristics of space deepness which is showed on flat TV screen with actually aired 6 dinnerware sales case, at $C^*$ home shopping, March.2005~November.2010, and survey consumer's emotional verbal image according to space styling character to get space deepness, which were shown on flat TV screen with camera angle, and research mutual relation with consumer preference. Also consumer's typical emotional verbal images for each space styling images for brand dinner ware sales had been extracted with reliability analysis, factor analysis, and multi dimensional scaling MDS using SPSS. Styling characteristics of space deepness were contrast of size, layering, vertical arrangement, and perspective arrangement, and used camera angles were bird's eye view, hi angle, and eye level. Result from the research is, highly marked consumer preferred styling material had a deep corelation to material's main factor and perceived emotional verbal images. Therefore this research could bring forward to new consumer preferred styling characteristics according to camera angle. Furthermore, it will be possible to make a study of preferred styling material through evaluation of quantitative spectators of in this area.