• Archives of Craniofacial Surgery
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• v.17 no.1
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• pp.14-19
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• 2016

Background: Most nasal bone fractures are corrected using non-invasive methods. Often, patients are dissatisfied with surgical outcomes following such closed approach. In this study, we compare surgical outcomes following blind closed reduction to that of ultrasound-guided reduction. Methods: A single-institutional prospective study was performed for all nasal fracture patients (n=28) presenting between May 2013 and November 2013. Upon research consent, patients were randomly assigned to either the control group (n=14, blind reduction) or the experimental group (n=14, ultrasound-guided reduction). Surgical outcomes were evaluated using preoperative and 3-month postoperative X-ray images by two independent surgeons. Patient satisfaction was evaluated using a questionnaire survey. Results: The experimental group consisted of 4 patients with Plane I fracture and 10 patients with Plane II fracture. The control group consisted of 3 patients with Plane I fracture and 11 patients with Plane II fracture. The mean surgical outcomes score and the mean patient dissatisfaction score were found not to differ between the experimental and the control group in Plane I fracture (p=0.755, 0.578, respectively). In a subgroup analysis consisting of Plane II fractures only, surgeons graded outcomes for ultrasound-guided reduction higher than that for the control group (p=0.007). Likewise, among the Plane II fracture patients, those who underwent ultrasound-guided reduction were less dissatisfied than those who underwent blind reduction (p=0.043). Conclusion: Our study result suggests that ultrasound-guided closed reduction is superior to blind closed reduction in those patients with Plane II nasal fractures.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.860-870
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• 2014

This study considers style types and examines aesthetic values by analyzing images expressed through bridesmaid dresses in the movie '27 Dresses'. The research method used was a case study on fashion types from movie costumes. The conclusions of this study are as follows. There are three fashion style types in the movie '27 Dresses' presented by diverse dress type according the bride's dress code, dress style that reflects a country's culture and tradition of how bridesmaids wear traditional costumes particular to each country as well as a dress style that suits the overall wedding's atmosphere and theme. The aesthetic values of the movie '27 Dresses': First, it reflects a complementarity synergy between the bridesmaid and the bride at the wedding. It plays a complementary role in creating synergy through a harmonious presentation at the wedding. Secondly, it represents traditionality. Traditional costumes of different cultures were used as bridesmaid dresses. These costumes play an important role in denoting the bride's nationality and tradition. Third, it represents a sense of amusement using a wedding as concept. The bridesmaid dresses were unique in a way that elicited surprise and unexpected laughter as well as a feeling of pleasure and interest in the audience. The different styles of bridesmaid dresses in movie costumes can help expand more diverse wedding cultures in a modern society.

• Journal of Fashion Business
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• v.24 no.5
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• pp.89-105
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• 2020

This study considers aesthetic characteristics by examining red carpet dress in China film festival. The research methods were quantitative and qualitative analysis of red carpet dress images collected from 2015 to 2019 on websites according to four criteria following previous research on red carpet dresses. The results of the study are as follows. First, the analysis of red carpet dress silhouettes showed that A-line silhouettes, slim silhouettes, and mermaid silhouettes appeared. Second, in terms of colors, one color, black, represented a higher proportion of the dress colors than the combination of different colors. Third, soft texture occupied the highest proportion of material textures, and combinations of materials with different textures were also used. In the case of patterns, the proportion of dresses without patterns was high, and natural patterns were found in the largest proportion. Beads and sequins accounted for most of the dress details, and the analysis showed that various detail types such as embroidery, slits, ruffles, and belts were used in the red carpet dresses. The aesthetic characteristics of the red carpet dresses worn at the China film festival were analyzed as sensual, elegant, decorative, and simple.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.164-173
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• 2013

This study aims to analyze the aesthetic thought and expression tendency appeared in contemporary architecture by looking at today's architectural art based on the concept of the uncanny that Sigmund Freud contended as an aesthetic principle, of the aesthetic concepts tossed around to define the contemporary times in the aesthetics field and discuss the architectural analysis possibility of the concept of the uncanny. The generation structure of the uncanny that generates experiences of fear and surprise is classified into dual structure, trauma, threatening structure, and repetition compulsion. This is the principle that evokes a sense of experiencing subject, incorporates sensibility, and vitalizes internal process. This is also the methodology to organize and structure the concept of the uncanny. When seen from the four factors drawn from the concept of the uncanny and aesthetic expressions, the uncanny expression characteristics of contemporary architecture includes isolation, subversion, trace, absence, oblique line, flotation, concealment, and disturbance. Isolation and subversion refers to producing the space of the pressure of tension and relaxation caused by repression and relief from repression and eliciting the maximum expansion of the sense of space through spatial change. Trace and absence indicates being able to elicit more intense emotions from the experiencing subject by applying the images of alienation and absence in the way to reproduce historical trauma. This happens by implementing the potential value of physical activity. Oblique line and flotation means visual impulse. This happens in the way to visualize uneasy points. This causes uncanny by threatening the survival. Finally, concealment and disturbance refers to creating unpredictable space. The concept of masquerade and maze space composition are applied in the way to activate spatial perception, including space exploration and unintended subject's forced selection. As stated above, the uncanny expression characteristics shown in contemporary architecture can be presented as indicators that are available to analyze the undecided and diversified contemporary architecture aesthetically. In this respect, this study has great significance.

• Journal of the Korean Society for information Management
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• v.21 no.4 s.54
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• pp.187-208
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• 2004

In this study, aesthetic impressions were used for a high-level feature of image retrieval. The term, 'aesthetic' has been studied in psychology, art, and literature. It means unconscious, instantaneous parts of visual perception and emotion. The literatures related to aesthetic impressions were reviewed and four kinds of aesthetic impressions were defined operationally : strong impression, soft impression, courteous impression, and refined impression. 66 image files of paintings were sampled randomly from 1100 paintings and low-level color features were extracted from them by a using perceptual color model(Lai, & Tait, 1998). The high-level features of an image, that is, four kinds of aesthetic impressions of each painting were measured by 4 subjects and averaged. In CBIR, 2 subjects performed image retrievals using example queries. They were asked to retrieve images by using the aesthetic impressions or the keywords. In evaluations, subjects showed that they were satisfied with the aesthetic impression-based image retrieval system on the average. And R-precision of the image retrieval with both color features and aesthetic impressions was higher than that of the image retrieval with color features only. But further studies with larger test collections and query sets should be followed for generalization of the result of this study.

• Cartoon and Animation Studies
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• s.49
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• pp.651-676
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• 2017

Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.53-70
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• 2009

The purpose of this study is to analyze the expressional traits and meanings of body images in contemporary fashion illustration, based on postmodern body theories and body images in postmodern art. For achieving the purpose, this study performed related research works and undertook a demonstrative analysis of fashion illustrations. The results are as follows : The postmodern body theories not only opposed, deconstructed the traditional concepts and norms of body, but also revealed the suppressed facts of it. Also they composed the new concepts of body. The expressional traits of body images in postmodern art and contemporary fashion illustration were categorized as realistically presented body, distorted/deformed body, fragmented body, abject body, post-gendered body and absent body. Through these traits, the meanings of defiance to authority, revelation of reality, new creation were expressed. In conclusion, the various body images in contemporary fashion illustration reflect open concepts for human beings and give new aesthetic experiences.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.51-51
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• 2003

The purpose of this study is to investigate the trends of, the ugliness images expressed in Modern Make-up from 1995 to 2003, especially focusing on color, and to enlarge the possibility of expressions through formative elements such as shape·texture·details and to anticipate the prospect of the Make-up in the future. The results can be summarized as follows. First, Ugliness is the most negative aesthetic value which is lack of beauty, and ultimate beauty is achieved through the combination of beauty with ugliness. Second, the images of ugliness have been expressed in paintings and fashion. The 20 century paintings, representing the ugly shape are extremely exaggerated with yellow, red, black, blue, white, green. The shape have been distorted, deformed, destroyed. And Pluralism and De-constructivism with its traits of indeterminacy have become the background of ugliness images in Fashion.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.2 s.2
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• pp.39-46
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• 2005

Art-Make-up has resulted in occupying one of the central areas of this culture. Art Make-up is currently undergoing various changes. The viewpoint of modern make-up is the infiniteness of emotion such as the subjectively individualized expressions and aesthetic values breaking with conventional thought. The most significant change is the idea of the 'grotesque'. The purpose of this research is to re-clarify the development of the diversity, professionalism and artistic feature through the study of Art make-up based on the 'grotesque' style. This also strives to focus attention at observing the deep and mysterious workings of the human inner world. In order to explain the features of 'grotesque' Art make-up, six images below are presented. Firstly, Inharmonious images. Secondly, disgusting inhuman images. Thirdly, mechanical images. Fourthly, distorted and exaggerated images. Fifthly, diabolic and horrific images. And, lastly, playful images. These six images thoroughly demonstrate the 'grotesque' features. The fact at we can see the 'grotesque' features in Art make-up explains the enormous growth of Art make-up and the unlimited range of expression in this field. It also implies that the choice of material and theme is not restricted to universal artistic criteria. In closing, it is necessary that Art make-up is thought of not as actual art but more as a tool for its subjects. As a result, this research will provide valuable information for studies in the future.