• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.129-140
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• 2017

This study aims to interpret the current landscape design of the place and landscape of memory, such as post-industrial parks and memorials that have an old, aging appearance from an aesthetic perspective. The objects of the study are large parks and open spaces that have collective memories for visitors. Visitors' aesthetic experience from these places and landscapes of memory could be explained by aesthetic concepts such as the sublime, nostalgia, and melancholy. Because these aesthetic concepts are associated with past traumas, visitors may be affected morbidly. However, due to the capability of the media to form an aesthetic experience when visitors visit a given place and landscape, visitors can autonomously adjust the distance to the place of memory and gain an aesthetic experience. The aesthetic experiences through the sublime, nostalgia, and melancholy are based on temporality and irreversibility. Temporality here refers to a characteristic of memory, and time in the place and landscape of memory and is based on the irreversibility of time, as time cannot go back. Both the place memory and the memory that is recalled from the combination with visitor's past memories and knowledge are two major factors involved in the construction of the aesthetic experience in the place and landscape of memory. The results of the present study are meaningful in that this study presents a framework for a better understanding and use of both the place memory and appreciators' memory in the design process of a place and landscape of memory and also criticizes a materialistic approach that fails to take into account the visitors' memories.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.215-237
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• 2020

This paper is written to introduce and review Shinji Matsunaga's The Aesthetics of Video Games which published in Japan in 2018. Shinji Matsunaga has studied video games from a philosophical and aesthetic perspective. In The Aesthetics of Video Games, he took video games as a hybrid form of traditional games. Shinji Matsunaga particularly notes that video games can design human behaviors and experiences. From this point of view, he tries to construct a theoretical framework that will be able to describe the ways of signification in games and fiction respectively. In previous studies, video games have been mainly discussed in the context of cultural studies and entertainment culture in Japan. The Aesthetics of Video Games is distinguished from the previous studies in the following points. First, The Aesthetics of Video Games pioneered the method of studying video games in art theory. Second, it established various types of relationships with video games and traditional aesthetic concepts. Third, this book connects new concepts that emerged in the age of artificial intelligence to video games as an aesthetic action. Through this work, not only video games were discussed academically, but also the fields of aesthetics and art were expanded. The Aesthetics of Video Game is like a collection of philosophical concepts for video games. Through this book, it can be said that the path for artificial intelligence to approach human secrets is closer than before.

• Science of Emotion and Sensibility
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• v.18 no.3
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• pp.71-80
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• 2015

Minimalism means abstinence characterized by simplicity, clarity, repetition, and exclusion while skeuomorphism means visual metaphor design characterized by retro, function, and emotion. Mobile platform interface has been developed based on those two aesthetic characteristics and user experience is evaluated using apple iOS6 and iOS7 representing skeuomorphism and minimalism respectively in this paper. Those two aesthetic designs on typography, color, and icon were tested with a sample of 35 undergraduate participants in the repeated measures design and the results showed that participants distinguished two types of aesthetic designs, and evaluated that iOS7 is superior to iOS6 on typography and identity. Comparing the levels of the three variables, aesthetic of typography, and accuracy, aesthetic and consistency of icon design were significantly differentiated and this means that although accuracy of icon design of iOS6 is superior to iOS7, iOS7 is superior in the rest of it. Overall, the participants had a positive evaluation toward iOS7.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.184-193
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• 2021

Interactive documentary refers to a new style of documentary that is created and accepted through active interaction. It is attracting attention as a platform that forms a public sphere and mediates audiences to participate in social change. However, the possibilities was not systematically explored, and there was insufficient consideration on how to realize them. In this paper, discussions on the political aesthetics of Walter Benjamin are examined, and the media characteristics of interactive documentary are analyzed through text mining. Then, by connecting the two to each other, we draw a map of the political and aesthetic possibilities, and based on the map, we analyze the actual works. This study has the value of establishing a theoretical framework for the possibilities of interactive documentaries. In the follow-up study, we will consider the practical strategy of interactive documentary as a transmedia activism and develop a practical analysis and planning methodology.

• Archives of design research
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• v.14 no.4
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• pp.15-24
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• 2001

If environmental aesthetics contains the whole area of grand beauty of nature and the meaning of the urban landscape, the urban landscape is defined 'fine view of urban, or beautiful sight' therefore, we must look for the wary to introduce and solve the aesthetic problem with a new paradym of the urban landscape. Such environmental aesthetics as to seek a new planning for the urban landscape can provide a new meaning for urban environment design by extracting design elements of street furniture resulted form aesthetic evaluation in context of formation aesthetics to review the aesthetic value and substance, and explain aesthetic experience, and explain aesthetic experience of urban the landscape.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.191-227
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• 2021

In this study, values of truth and good are expressed in the form of beauty, and truth and good are analyzed from an aesthetic point of view. This enables an assessment of how truth is expressed and presented as an "aesthetic" in Daesoon Thought. Therefore, an approach to faith in Daesoon Jinrihoe (大巡眞理會) can be presented via traditional aesthetics or theological aesthetics that reflect on sense experience, feelings, and beauty. The concept of beauty in Daesoon Thought which focuses on The Canonical Scripture appears in keywords used in Daesoon Thought such as divine nature (神性), the pattern of Dao (道理), the singularly-focused mind (一心), and relationships (關係). Therein, one can find sublimation, symmetry, moderation, and harmony. The aesthetic features of Daesoon Thought, when considered as an aesthetic system can formulate thinking regarding the aesthetics of 'Reordering Works of Heaven and Earth' (天地公事), the aesthetics of Mutual Beneficence (相生), and the aesthetics of healing. The Reordering Works of Heaven and Earth contain a record of the Supreme God visiting the world as a human being. The realization that the human figure, Kang Jeungsan (1871-1909), is the Supreme God, Sangje (上帝), is the shocking aesthetic motif and theological starting point of the Reordering Works of Heaven and Earth. Mutual Beneficence can be seen aesthetically as indicating the sociality of mutual relations, and there is an aesthetic structure of Mutual Beneficence in the harmony and unification of those relations. Healing can be said to contain the sacred sublimation of Sangje, and moderation is a form of beauty that makes humans move toward Quieting the mind and Quieting the body (安心·安身), the Dharma of Presiding over Cures (醫統), and the ultimate value of healing, which is the end point of the Cultivation (修道) wherein one realizes that the ideals of humankind and the aesthetics of healing bestow the spiritual pleasures of a beautiful and valuable life. The aesthetic characteristics of Daesoon Thought demonstrate an aesthetic attitude that leads to healing through Sangje's Holy Works and the practice of Mutual Beneficence (相生) which were performed when He stayed with us to vastly save all beings throughout the Three Realms that teetered on the brink of extinction. It is not uncommon to see a beautiful woman and remark she is like a goddess (女神) or female immortal (仙女). Likewise, beautiful music is often praised as "the sound of heaven." That which fills us with joy is spoken of as "divine beings (神明)" of God. God is a symbol of beauty, and the world of God can be said to be the archetype of beauty. Experience of beauty guides our souls to God. The aesthetic experience of Daesoon Thought is a religious experience that culminates in emotional, intellectual, and spiritual joy, and it is an aesthetic experience that recognizes transcendent beauty.

• Cartoon and Animation Studies
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• s.20
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• pp.31-45
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• 2010

Stereoscopic 3D animation contents are in the rise as a key part of contents market. Major animation studios are planning to produce 3D animations in a stereoscopic process. This study aims at understanding the visual textuality of 3D animation contents at its early stage. To understand 3D animation, , are analyzed. Stereoscopic 3D animations are exploring the new visual aesthetics using the specific storytelling, sequence ordering, camera working, shot size and camera angles etc. Based on these visual textualities, stereoscopic 3D animations are constructing telepresence, multi-senses of individual spectators. Stereoscopic 3D animations have formed their own aesthetics and cultural meanings in the digital age.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.776-784
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• 2009

2000 년 이후부터는 HCI 분야에서도 감성적 측면의 연구 중에서 특히 미학(Aesthetics)과 아름다움 (Beauty)에 대한 연구가 활발히 이루어져 왔다. 기존 HCI 분야가 유용성, 사용성과 같은 인지적 측면의 경험 요소들을 추구하기 위해 집중했다면, 최근에는 심미성이나 즐거움 등과 같은 감성적인 측면의 경험 요소도 함께 중시하는 추세이다. 심지어 실용적인 측면을 강조했던 핸드폰이나 냉장고 등의 전자제품에서도 디자인의 심미성과 같은 감성적인 측면이 더욱 부각되고 있다. 현재까지 HCI 분야에서 심미성에 대한 연구가 다수 진행되어왔다. 그 중에서 Tractinsky (2000)는 지각된 심미성과 지각된 사용성이 양의 상관관계를 가짐을 보여주었다. HCI 분야에서 Tranctinsky 와 더불어 Hassenzahl (2004, 2008) 역시 심미성과 다른 사용자 경험 요소들의 상관관계를 밝히기 위해 여러 시도를 해오고 있다. 그러나 상위 연구들은 주로 심미성과 다른 사용자 경험 요소들과의 상관관계에만 초점을 맞추었고, 모두 실험 상황에서만 연구가 진행되었다는 한계점을 가지고 있다. 즉, 실험 상황에서 도출된 결과는 실제로 사용자가 구매 시점이나 사용 상황에서 심미성을 얼마나 중요하게 고려하는지, 심미성 다른 사용자 경험 요소에 어떤 영향을 미치는지, 그 영향력이 사용 경험에 따라 변화가 없는지 사용 정황이 반영된 시사점을 찾기 어려운 실정이다. 따라서 본 연구는 크게 두 가지 목적을 가지고 있다. 첫째, 지각된 심미성이 다른 사용자 경험 요소들에 미치는 영향력을 검증하고, 둘째, 지각된 심미성이 다른 사용자 경험 요소에 미치는 영향력을 사용 경험 기간의 조절효과 관점에서 연구하는 것이다. 우선 본 연구에서는 사용자 경험 요소를 다차원적인 관점에서 접근하여, 여러 사용자 경험 요소들을 실용적 차원과 유희적 차원으로 나누었다. 그리고 사용 경험 기간의 조절효과를 보기 위해, 장기간 사용하는 전자제품을 선정하고 이를 실제로 사용하는 사용자를 대상으로 대규모 온라인 설문을 실시하였다. 결론적으로 본 연구는 Tractinsky(2000)의 기존 연구를 사용 기간의 조절효과 관점에서 진행한 것에 의의를 가질 뿐만 아니라, 본 연구의 결과를 토대로 제품 개발이나 디자인 종사자들에게 HCI 관점의 시사점을 제공하고자 한다.

• The Journal of the Korea Contents Association
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• v.21 no.9
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• pp.88-104
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• 2021

The visual expression of deconstructive graphic design influenced by postmodernism differs from the traditional ways of graphic expression that consist of precise images and text and is challenging and highly experimental. The characteristics of the formative nature of such deconstructive graphic design emphasized the importance of the reader as the principal agent of aesthetic experience in the appreciation of works. For this study, a new ideological framework was developed regarding the ambiguity arising due to visual experimentation in deconstructive graphic design, assuming the central theory to be the Reception Theory (Aesthetics of Reception) centering around the recipient who is the reader. The characteristics of Iser's Reception Theory are substituted as a theoretical category and an interpretation of the works of ambiguity in deconstructive graphic design is carried out. Although Aesthetics of Reception is a literary theory about the interaction between the artist and the reader, as a method for interpreting deconstructive graphic design influenced by postmodernism, it laid a theoretical foundation and enriched the interpretation of works. Moreover, the four characteristics of Iser's Reception Theory were used to create a framework that suggested a new direction for the approach based on the reader's interaction in the process of interpreting works of modern graphic design.

• Archives of design research
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• v.16 no.3
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• pp.329-340
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• 2003

The purpose of this study is to provide the methods of harmony in color combination of environmental color for apartment in order to improve the image of the urban landscape. For this study, apartment in Iksan City was selected is a sample and twenty two apartments were analyzed. This framework of this study is A. Hard and L. Sivik's color combination model based on Natural Color System. This study examines various theories on environmental color perception and new approaches to color aesthetics, and tries to present perceptual properties that can be applied to environmental color design First, the principle of color harmony feeling in based on nuance and tone. Therefore, to control brightness and chromaticness with are related with nuance is important in color combination. Second, the aesthetic experience in color preception can be defined as a combined effect of similarities and differences of color attributes. Third, color harmony theory is one of the areas that can be benefit a great deal from and interdisciplinary approach, add empirical study such as this can be used as a basis for environmental color design and evaluation.