• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.42-53
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• 2023

This paper explores the recent development of environmental aesthetics and critically examines the main agendas, claims, issues, and implications of everyday aesthetics, which is emerging as an important branch of environmental aesthetics. Environmental aesthetics began in the context of cultural change and environmentalism in the 1960s and expanded in the second half of the 20th century with a solid theoretical foundation. At the beginning of the 21st century, it entered a process of diversification of objects and subjects. Having reached academic maturity, environmental aesthetics has expanded into theoretical territory considering the urban environment and the human environment, providing practical coordinates as a discourse for planning and designing urban environments and landscapes. The most notable achievement of environmental aesthetics since the mid-2000s is the establishment of 'everyday aesthetics'. Yuriko Saito, who is leading the research on everyday aesthetics, expanded the objects and scope of aesthetic theory to everyday objects, events, activities, and environments. She excavates the microscopic and sensory aspects of everyday life, which have been overlooked by conventional art-centered aesthetics, through the lens of aesthetics. She reinterprets various layers of phenomena in contemporary urban landscapes and analyzes how the 'power of the aesthetic' hidden in everyday life profoundly affects the quality of life and the state of the world. Saito examines the appreciation of the distinctive characteristics and ambiance inherent in everyday objects and environments and proposes a 'moral-aesthetic judgment' to alert citizens to the environmental, social, and political consequences of everyday aesthetic appreciation and response. This paper identifies the issues and implications of everyday aesthetics as first, the expansion of aesthetics and the ambiguous everyday, second, the moral-aesthetic judgment and the aesthetics of care, and third, urban regeneration landscapes and aesthetic literacy. In particular, the moral virtues of everyday aesthetics that Saito proposes, such as care, thoughtfulness, sensitivity, and respect, provide a critical reference for the practice of contemporary urban regeneration landscapes. The 'aesthetic literacy' is a key concept demonstrating why an environmental aesthetics perspective is necessary to interpret everyday urban environments and landscapes.

• The Journal of the Korea Contents Association
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• v.22 no.5
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• pp.611-619
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• 2022

This thesis is about body language of Tao Dance Theater by combining Schuster's body aesthetic concept with the aesthetic characteristics of early dancers in modern dance. The body aesthetics of Tao Dance Theater were analyzed from the perspectives of minimalism and abstract aesthetics as they expressed and conducted overall research. Therefore, this study intends to analyze the elements such as the creative intention, content, body aesthetic, and costume stage of Tao Dance Theater's work <10>. Accordingly, it is meaningful in that it understands the aesthetic concept of the body asserted by Lee through the work, and analyzes the current state of development of modern dance art according to the change of the artistic trend.

• Journal of the Korean Institute of Landscape Architecture
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• v.20 no.3
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• pp.11-20
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• 1992

본 논문에서는 사람이 환경을 통해 경험하는 미학적 경험(aesthetic experience)을 체계화시킨 이론적 모델(a conceptual model of affect and cognition interface in aesthetic experiences of landscapes)이 간단히 소개 되며, 이 모델을 검증하기 위한 연구가 중점적으로 다루어진다. 제시된 모 델은 경관의 미학적 경험을 감정(affect)과 인지(cognition)와의 상호작용 (interface)으로 설명하고 있으며, 세 가지 요소(사람이 환경에 대하여 갖고 있는 목적 : tasks, 사람의 모든 과거경험에 근거한 지식일체 : schematic knowledge, 환경의 독특한 상황 : environmental situation)를 미학적 경험 의 주요인자로 제시한다. 이 모델을 검증하기 위한 연구에서는 앞에서 소 개된 미학적 경험의 세 가지 요소(사람의 목적, 지식, 환경상황)를 과학적 이고 계량적이고 처리할 수 있도록 세부요소로 분류정의 (operationalization)하였다. 구체적으로, 사람의 목적은 환경을 평가하는 세 가지 목적, 즉 경치평가(scenic beauty judgment), 들놀이 목적으로서의 평가(picnic preference judgment), 주거목적으로서의 평가(living preference judgment)로 분류되었고, 이 세 가지 환경평가는 미학적 경험의 지표로 사용되었다. 사람의 지식은 국적에 근거한 문화적인 지식(cultural schema : 한국인과 텍사스인)과 직업에 근거한 사회적인 지식(social schema : 농부, 비농부, 조경학과 학생)으로 분류되었으며, 환경상황은 환 경의 아름다움(beauty : 아름다운 경관과 아름답지않은 경관)과 환경의 의 미(meaning : 긍정적인 의미가 있는 한국경관, 긍정적인 의미가 없는 한국 경관, 긍정적인 의미가 있는 미국 텍사스경관)로 분류되었다. 연구결과를 보면, 이론적 모델에서 소개된 세 가지 요소들 (사람의 목적, 지식, 환경상 황) 모두가 경관의 미학적 경험에(경치평가, 들놀이 선호도, 주거지 선호 도) 중요한 역할을 하는 것으로 밝혀졌으며, 이 연구결과는 제시된 이론적 모델을 뒷받침하고 있다. 특히, 가장 흥미로운 연구결과를 요약하면 첫째, 사람의 문화적인 지식은 단독으로 미학적 경험에 영향을 주는 것이 아니라 다른 요소들(특히 사회적인 지식과 목적)과의 상호작용을 통해 미학적 경 험을 형성한다는 것으로 밝혀졌다. 둘째, 환경의 아름다움은 다른 세부요소 들(환경의 의미, 사람의 목적과 지식)보다 미학적 경험에 주는 영향이 큰 것으로 나타났으며, 모든 사람들에게 비슷한 미학적 경험을 발생시키는 것 이 밝혀졌다. 다시 말하면 모든 사람들은 그들의 문화적인 국적과 사회적 인 직업의 차이, 목적의 차이, 또한 환경의 의미의 차이에 상관없이 아름다 운 경관(High-beauty landscape)을 주거지나 나들이 장소로서 선호했으며, 아름답다고 평가했다. 반면에, 사람들이 갖고 있는 문화의 차이, 직업의 차 이, 목적의 차이, 그리고 환경의 의미의 차이에 따라 경관의 미학적 평가가 달라진 것으로 나타났다.

• Journal of Korea Game Society
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• v.16 no.5
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• pp.131-148
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• 2016

The cultural status of the game is always compared with the various area of art, and this discussion is continuing from appearance of the game to the present. During the same period, the cultural influence of the game is gradually increased, but public awareness was significantly undervalued the artistic value of the game. So, the change in this evaluation is needed in order to constantly maintain a cultural influence and to provide a positive influence on our society. Therefore, it is required that the research to prove their aesthetic value in the viewpoint of the game. This paper explores the new aesthetic potential of the game through a discussion of various similarities and the relationship between games and art. We look at the views on the game from the artistic point of view through game art and art game. And it find out the aesthetic subject and value of game. Finally, the approach through features of the information aesthetics and the generative aesthetics helps your understanding of the game aesthetics.

• Journal of the Korea Convergence Society
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• v.8 no.2
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• pp.1-8
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• 2017

In this paper, we investigates the basis of the theological aesthetics and the Bible as the standard of human value standards on the basis of this theological aesthetics. In another approach, unique designs of plants and animals were described in terms of aesthetics. These descriptions were then employed to design and create things, recognised for their beauty as well as practicable applications. From this point of view, we can deduce the relevance of God, the created world, and theological aesthetics. We review the implications of human engineering and the art of convergence and engineering theology. We discussed why the need for a tool of theological aesthetics in convergence engineering is important. We will need more discussion in terms of technological progress in which theological aesthetics is embodied in order to develop more healthy, moral and ethical convergent engineering skills in our society and to provide a better and healthier life for mankind.

• Journal of Digital Convergence
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• v.18 no.4
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• pp.439-451
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• 2020

In order to deeply understand the significance of death aesthetics in contemporary art, this research first summarizes the development process of death aesthetics in art works with popular perspectives, and then classifies and discusses death aesthetics in modern art works. The results of this study are as follows: First, the aesthetic expressions of death are divided into two types: death reproducibility and death symbolism. Death reproducibility includes reproducibility of real objects and reproducibility of imaginary objects. The symbolism of death can be divided into external and internal manifestations. Secondly, in contemporary art, the reproducibility of death through the description of death scenes has increased the various problems and philosophical significance caused by death. Third, in contemporary art, the symbolism meaning of death is not just something directly related to death, it also shows the various psychological states brought about by death. Subsequent research will promote the artists' visual expression of the aesthetics of death in artworks, and the profound changes in meaning that result from it.

• Journal of Digital Contents Society
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• v.6 no.4
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• pp.249-254
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• 2005

Modern society has produced various forms of mass media to convey different messages to the public.Animation, in particular, has been developing and expanding its own unique ganre and cultural code. In this report, I first describe the basic definition and expression techniques of filmography. Based on these technique, I observe the characteristics and methodologies of animation aesthetics, and distinguish between animation and motion pictures in order to show the benefits of using animation. Finally, I suggest the future direction of the research we will pursue in order to efficiently carry message to the public.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.181-192
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• 2009

The purpose of this research is to investigate appropriate usage of pansori's method of breathing, sound making, and resonance in order to develop actor's aesthetic voice. Today's theatre no longer see inter-cultural approach as new or experimental, but see it as a part of global current. Actors are required to integrate some global-ness into their acting. It's not enough, however, for actors to equip some cosmopolitan sensibility. More important thing is that they should be able to integrate one's own culture and aesthetic into their performance. Only after acquiring one's own cultural identity, it is possible to step into inter-cultural work. It is fundamental, therefore, for actors to assimilate traditional movement and aesthetic voice. It's been known that traditional Korean voice traits are well preserved in Pansori. In this paper, based upon well-known theories and practices of western voice training, pansori's principles and practices are utilized to bring a new aesthetic voice.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.2
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• pp.38-48
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• 2012

Since the late 20th century, sustainability is one of the most pressing concerns for the security and well-being of our society when we are witnessing the rapid change in urban landscape patterns. Responding to this issue, the discipline of environmental designs including landscape architecture has also attempted to realize this concept in various ways. The purpose of this study lies in introducing and redefining the meaning of ecological aesthetics as an alternative "sustainable" design theory. This paper theoretically discusses about the role of aesthetics in landscape design and the relationship between landscape and aesthetics to emphasize the importance of ecological aesthetics. Based on extensive literature review and analysis, the study attempts to redefine the characteristics of ecological aesthetics: an emphasis on cognitive process in landscape appreciation, environmentalism, unrestricted from style, and nonnative aesthetics. Having defined the characteristics, this study also finds several design subjects to adapt the concept of ecological aesthetics to actual design practice. Founded on the big idea "make nature visible", the defined subjects are ecological functions, temporality of landscape, and history of landscape, security, and accessibility. Also, this study stresses the importance m the creativity of the design(er) in order to effectively represent these subjects to the public.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.220-233
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• 2019

Hitherto there have been by and large three different approaches to the installation works of Olafur Eliasson; a soma-aethetic, politico-aesthetic and techno-aesthetic. But none of these provides us with the aesthetic descriptions of the light effect. This failure seems to arise from the lack of the conceptual tools suit for describing the atmospheric effect of 'light'. The symbolism of light, or the theological optics of Middle Age may help us to compensate for the lack of appropriate concepts needed for theorizing the effect of light used very frequently by contemporary installation artists. And this medieval aesthetics of light can also of service to elucidate some essential characteristics of the digtal visual culture in general.