• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.61-69
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• 2013

The conventional boundaries between art and technology are being torn down by the development of science in the 21st century. It is fulfilling the convergence to emphasize two-way communication. This research is to study the aesthetic experience of the space design which appeared in the playful space of art and technology. The purpose of this study is to analyze the expression and characteristics of the art and technology applied for the playful space, to present the intrinsic value of aesthetic experience, and finally to focus on the necessity of aesthetic experience in modern society. In the Playful space of art and technology, research methods and settings of the range to study the aesthetic experience are as follows: First, establish a theoretical consideration about the concept and characteristics of the aesthetic experience, based on Philosophical theories. Second, analyze the meaning of art and the expression elements and characteristics by using technology. Third, discuss the concept of play and features of aesthetic experience in the playful space. Fourth, investigate analysis of the case studies, focused on the architecture and space design announced through the media recently. Finally, proposes the value for the applicability of aesthetic experience that appears playful space works affect us. I saw the aesthetic experience that appears playful space independent reaction and lead to behavioral changes and physical experience to maximize the effectiveness of participation. and it is to maximize a pleasurable experience, while increasing the commitment to participate in the space. Expressions using art and technology are activated by stimulation of the emotional experience, creating a new aesthetic experience. In the modern, the new environment is being created by the convergence of art and technology and it stimulates the imagination of art. Also, it has been newly regulated the meaning of human emotions and consciousness in the new space, surrounded by technology.

• Journal of Wellbeing Management and Applied Psychology
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• v.3 no.3
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• pp.15-19
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• 2020

Consumers exposed to aesthetic brands can not only experience sensory pleasure but also lead to strong customer loyalty. Furthermore, aesthetic brands can expect to lead to the overall experience of the brand. They include the brand's sensory, emotional, behavioral and intellectual experience. Since aesthetic brands related to the sensory representation of customers, consumers exposed to aesthetic brands can expect to have a meaningful impact on the overall experience of the brand. The study will select aesthetic brands that distributed in Korea and then compare the aesthetic characteristics of each brand. It also seeks to verify the brand attractiveness, consistency, prominence and influence of brand motifs on the brand's sensual, emotional, behavioral and intellectual experience. To verify the influence between variables proposed in this study, we would like to conduct a multiple regression analysis. SAS 9.4 used to verify the hypotheses proposed in this study. Cronbach's α measure to verify reliability of each measurement item. In particular, brand attractiveness and brand motif can verify empirically to confirm that they play an important role in inducing brand experience.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.12
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• pp.1947-1956
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• 2010

This study is to understand fashion product aesthetics by exploring the antecedents of aesthetic experiences and the influence of aesthetic experiences on impulse buying behavior. A total of 520 usable questionnaires were obtained through an internet survey. A structural equation model using a correlation matrix with maximum likelihood was estimated by using AMOS 18.0 to examine the relationships among aesthetic value, aesthetic acumen, affective experience, cognitive experience, and impulse buying behavior. The results showed that aesthetic value and acumen had a significant effect on the cognition of aesthetic experiences and that aesthetic experiences had a significant effect on impulse buying behavior. These results highlight the powerful motivational force behind fashion product aesthetics. The key implications for research and management are discussed further.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.207-215
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• 2020

Studies on aesthetic experience in games mostly focus on engineering approach centered on structural determination of specific target within the game as well as humanistic·social approach in forms of artistic conversation on game play experience. This paper have established a theoretic guideline regarding the progress of aesthetic experience which allows analysis from the perspective of player experience acquired during game play. Based on such guideline, the study classifies cognitive data (Eye-Tracking, Playing Action, Facial Expression) on aesthetic experience and suggests the methods to measure such data. By deducing errors and points to be considered related to measuring methods through pilot tests, this study will contribute to the execution of empirical study focused on player perspective.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.554-564
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• 2013

This study identified the characteristic and meaning of flow experience through the experiences related to fashion models' role performance; subsequently, the following findings were obtained. First, fashion models' flow experience could be divided into characteristics such as temporality, spatiality, relationality, physicalness and pleasure. Second, the process of this flow experience ultimately led to the complete moment. The complete moment can be said to be the aesthetic experience that provides both the meaningful experience and the aesthetic pleasure; it is the experiential knowledge at the dimension of mysterious integration that their body and mind are integrated into one. The beauty that fashion models exercise at the aspect of this aesthetic experience is that of performance and is an individual physical movement where they perceive their role and exercise their inner ability to express their costume most beautifully. Accordingly, the beauty of performance can be said to mean that the fashion show was successfully held by inducing both the performer and the audience into an aesthetic response. The process of specialized planning and preparation is required for fashion models to exercise the beauty of performance at the complete movement reached through flow experience and a successful fashion show. Diverse elements of the fashion show should be more organically constituted through such a process. Fashion models should exert efforts to embody acts such as walking, posing and turning through the performance of their excellent role as well as develop a training program to complete it.

• Journal of the Korea Convergence Society
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• v.11 no.8
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• pp.287-296
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• 2020

The purpose of this study is to explore the differences in aesthetic experience according to the level of audience participation. Flow experience and aesthetic distance were utilized as proxies for aesthetic experience. A total of 70 undergraduates participated in the experiments of this study. In terms of flow experience, active participation groups were found to have relatively greater flow experiences compared to contemplation groups and passive participation groups. However, there was no difference in flow experience between the contemplation groups and the passive participation groups. In light of aesthetic distance, which means psychological distance, people in active participation groups were found to have a closer psychological distance from artwork than those in contemplation groups and passive participation groups. Also, those who belonged to the passive participation group showed a closer psychological distance than the contemplation group. The results of this study provide artists and art organizations with implications for enhancing audience attraction as well as the completeness of artwork.

• Asia Pacific Journal of Business Review
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• v.5 no.2
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• pp.45-57
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• 2021

The COVID-19 pandemic has ushered in a new era of untact and we are quickly adapting to this untact era. In the current situation where it is difficult to contact each other face-to-face, Virtual Reality (VR) is an opportunity factor for indirect tourism and a good alternative to viewing cultural heritage. This study showed that the effects of experience economies such as entertainment experience, aesthetic experience, escapist experience, and spiritual experience on VR content satisfaction. Furthermore, we examined whether consumers' perceived risks to COVID-19 moderate the relationship between experience economy and satisfaction. This study investigated 149 people who experienced VR content about Jerusalem. The results have shown that entertainment experience and aesthetic experience have a positive effect on the satisfaction with the VR content. Furthermore, perceived risks about COVID-19 have been shown to moderate the effects of aesthetic experience and spiritual experience on satisfaction. Finally, we provided implications based on our findings.

• Journal of Science of Art and Design
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• v.13 no.1
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• pp.11-21
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• 2008

It seems to be difficult to bridge between human and nature. All depictions of nature are not necessarily reflections of reality. Thoughts are projected into nature, then nature will reflect us. The world is composed of natural and cultural environment. There are differences between depiction of nature based on correspondence and construction of world. Environmental aesthetics is an emerging field of study that focuses on nature's aesthetic value as well as on its ethical and environmental implications. Allen Carlson, a pioneer in environmental aesthetics, provides challenges as well as a wealth of resources for those who would appropriate his ideas in the service of environmental protection. Carlson's positive aesthetics, his focus on the functionality of human environments, and his integration of aesthetics and ethics have great import for those seeking to use aesthetics to assist in addressing environmental controversies. Environmental ethics would benefit from taking environmental aesthetics more seriously. Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but fully integrated and continuous with us, Arnold Berleant explores the aesthetic dimensions of the human-environment continuum in both theoretical terms and concrete situations. Aesthetic experience is always contextual. The aesthetic aspect of any human habitat is an essential part of its desirability. The aesthetic perception of environment shows us the reciprocity that constitutes both person and place. The genuine beauty lies in the coexistence and harmony with natural environment.

• Journal of Korea Game Society
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• v.20 no.6
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• pp.3-12
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• 2020

Player experience study includes the behavior and psychological responses of player to game content. And, it focuses on the player's aesthetic experience for specific game elements rather than comprehensive game experiences. This paper presents the player's aesthetic experience data derived from the gameplay process as a code, and analyzes the aesthetic experience data by player experience level for adventure games. These researching results might complement the limitations of existing game analysis research, and provide practical data which creator could apply at the design stage of game.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.67-83
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• 2001

The purpose of this study is to define the aesthetic consciousness in the late Modernism fashion which generated a sudden style change and craze, and to identify the essential meaning of the style. In order to achieve this the aesthetic approach was applied. Visual commonalities were sought between fashion and contemporary architecture, furniture, ceramic and metalware, to lead to a deeper insight into the aesthetic consciousness. Common visual characteristics are curvedness of the line, obliqueness of the line, asymmetry of the form, exaggeration of the form and symbolic nature of the form. The content which can be analogized from the visual characteristics are the beauty of the nature, the beauty of the glamourous feminity, the beauty of the ideal and the beauty of the creative personality. In the creating process, the existential aspect of human being became a focus of attention, and human being's subjectivity operated as a principal force. In the late Modernism fashion, the appreciator's aesthetic experience became more important, and the appreciator's psychological satisfaction and pleasure were considered in the creative process. Fashion, architecture and crafts, which fulfill functional duties in everyday life, facilitated the appreciator's aesthetic experience through empathy. This study inquires into the relationship between aesthetic consciousness and visual form. This study offers meaning because to uncover the connoted aesthetic consciousness in the late Modernism fashion is to pursue the roots of current aesthetic consciousness and it is hoped that in doing so this study will provide a basis for interpreting and understanding today's fashion style.