• Journal of the Korean Society of Costume
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• v.30
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• 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.

• Archives of design research
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• v.19 no.3 s.65
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• pp.105-116
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• 2006

In product manufacturing industries, a recent issue is the green concept. The green concept is a complicated area. If the green concept is for products, its serious issues have to be criticized. Although the importance of the green concept has overflowed, its influences have not been disputed vigorously. So this study is to critic the serious issues of the green concept in aesthetics in product design, manufacturing, and products' prices. The green environment has four representative elements: systems, policies, minds, and technologies, but they are not in the field of design. An element of the green concept, green design is also a sub concept for design, so it should be based on aesthetics. It is green aesthetics. But since green design first appeared, it has never approached by aesthetics because it has mostly had social meanings and expectations. So for green aesthetics, to think about what makes a product, and what can be aesthetic issues among them are important. Products consist of form, structure, material, and technology. Form means different shapes in a structure, but there cannot be any specific directions for a green concept. Structure has two kinds: interior and exterior structure. While interior structure has a technological character, exterior structure is deeply related with aesthetics, but it has also no chance for green concept. Material can be divided as two also: aesthetic and technological. Aesthetics materials mean the colors, opacity, and tactile sense of materials, but they are not aesthetic issues. Technological materials are recycled materials or non-recycled materials. Even if recycled materials are used today, they are close to systems or policies rather than aesthetics. With this result, green aesthetics is a very difficult concept. Second, green products are usually 30% more expensive than general products. But every consumer has his or her own economical conditions, and nobody can coerce consumers into buying expensive green products for green environments. And green products without good quality cannot satisfy consumers. This means that green concept is not accomplished by just manufacturing green products. Third, although a lot of proposals have appeared as green design in exhibitions, most of them are close to craft because they are so hard to be manufactured. Manufacturing is the first consideration for products. These three issues are enough to explain why green concept is complicated in manufacturing products. If they are not solved, the green concept is just a fiction. So if this study proposes a turning point against blind green-oriented atmosphere, it will be meaningful enough.

• Journal of architectural history
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• v.11 no.1 s.29
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• pp.49-64
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• 2002

The recently published papers and essays regarding 'tectonic' bring us to rumination of its importance on comprehending modern architectural process. Many architectural theorists may seem to seek the substance of architecture through the discussion of 'tectonic' for the purpose of overcoming the dilemma of representation which can be easily found in modern architectural forms. Their emphasizing on its double-faced aspect as the manner of representation, that is semantic and aesthetic, may imply the significance of philosophical approach especially to the recent architectural phenomena. From this point, it ought to be meaningful to manifest etymological connection between the terms with semantic analysis and interpret the substance and ontological meaning of 'tectonic' referring Martin Heidegger's existential philosophy. Besides the works of Carlo Scarpa, that are known as the art of making, are exampled to prove the way how the ontological meaning of practical act is exposed on an artwork. The idea of 'tectonic' connotes not only technological aspect as construction of form and space, but also ontological aspect as joint or detail, that is the result of logos. The 'tectonic' means etymologically 'joint' having double-meaning structure, technology and aesthetics. It means 'detail' as minimum units of architectural form and as sites where making relationship or connection takes place in the way of ontological apprehension. The 'detail' as the place of innovation and invention implies the culture of an area, and expresses craftsmanship, which modem architecture buries in oblivion. This study aims to deviate from the aesthetical commercialization in which the modern architecture tends to fall, and further, propose the possible way to succeed traditional locality in an epistemological point of view.

• Journal of Service Research and Studies
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• v.11 no.3
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• pp.31-42
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• 2021

This study is a study on theoretical considerations on industrial design data in the era of data economy. This study aims to illuminate the value of industrial design data, interpret the meaning of the transition from design management to the design data era, and highlight the importance of literacy to interpret data for designers. The scope of research approaches the R&D capability dimension of a company to explore the industrial value of design. It limits the scope of research from an industrial point of view rather than the humanistic basis and aesthetic value of design. As a result of the study, it was found that the value of industrial design data is not in ex post evaluation, but in customer-oriented market prediction, and that the design industry data-led strategy is important. The key point is that the industrial design data issues of large companies and SMEs are different, the direction of industrial design data should be to support customer-centered decision making in the product/service development of companies, and the core competency is the amount of data or tools and technologies to handle it. No, it should be in data literals. Lastly, if the use of industrial design data is to be strengthened, management of the public level rather than the personal level of data management should be preceded.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.119-127
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• 2014

As keen marketing competition for increasing corporate image has been begun, the creative level of annual report design, which is deeply involved with investment, has became a fundamental measure of corporate value. Good commercial design has to have both practical and aesthetic aspect. For make more creative annual report project. it's worth to find world design trend in practical way. The point of study focuses and sorts on physical properties of out-put works by the view point of editorial design, and tries to find the possibility of common design style. It analyzes key message, pagination plan and feature pages of 2013 ARC awarded annual report works in interior design category. The visual image and typographic style study of awarded works will help planner and designer who develop annual report project, because this research data reduces their process. Then it's possible to have more opportunities to create project and supports background material for making a presentation for clients.

• The Journal of Korean Philosophical History
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• no.32
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• pp.309-336
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• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.17 no.3
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• pp.183-200
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• 2022

This study is a study on the effect of a healing experience program on satisfaction in the field of healing agriculture. In the development of a rural experience program, what factors constituting the healing experience program affect satisfaction, and how much time and participation cost affect the satisfaction of the healing experience program from the marketing point of view of the healing experience program. I want to analyze By researching the effect of experience cost and experience time on satisfaction of the healing experience program, I would like to suggest the development direction of the healing experience program. To this end, by empirically analyzing the effect of a healing experience program using experience cost and experience time as parameters on satisfaction, we present a theoretical basis for priority considerations when developing a rural experience program. There are entertainment experience, educational experience, deviant experience, and aesthetic experience as sub-factors of the experience program, experience time and experience cost as parameters, and satisfaction as a dependent variable. In addition, the reliability of the research results was secured by setting the demographic variables of the survey subjects as control variables. The empirical analysis was conducted on 314 valid questionnaires from the unspecified majority who were interested in or aware of the healing experience program. SPSS v22.0 was used, and to test the mediating effect, the three-step verification method of Baron & Kenny(1986) and the SPSS PROCESS Macro Model No. of Andrew F. Hayes(2018). 4 The reliability of the mediating effect was secured by applying the verification method and comparing the analysis resul. As a result of the study, it was found that educational experience (𝛽=.134, t=1.759*) had a positive (+) effect on experience cost, and aesthetic experience (𝛽=.144 t=1.684*) had a positive (+) effect on experience time. +) was found to have an effect. Also, educational experience (𝛽=.239, t=4.112***) was found to have a positive (+) effect on satisfaction, and aesthetic experience (𝛽=.330 t=4.921***) had a positive effect on satisfaction. It has been shown to have a (+) effect. Experience time was found to have a negative (-) inconsistent mediating effect between aesthetic experience and satisfaction. That is, it is the total effect (𝛽=.330 t=4.921***), and the direct effect (𝛽=.349 t=5.241***) increased by 𝛽=.019 compared to the total effect when the experience time was input, while the indirect effect (𝛽=-.019), which was shown to exert a negative (-) mediating effect.

• Journal of Periodontal and Implant Science
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• v.45 no.5
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• pp.162-168
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• 2015

Purpose: The aim of this study was to analyze the anatomical dimensions of the buccal bone walls of the aesthetic maxillary region for immediate implant placement, based upon cone-beam computed tomography (CBCT) scans in a sample of adult patients. Methods: Two calibrated examiners analyzed a sample of 50 CBCT scans, performing morphometric analyses of both incisors and canines on the left and right sides. Subsequently, in the sagittal view, a line was traced through the major axis of the selected tooth. Then, a second line (E) was traced from the buccal to the palatal wall at the level of the observed bone ridges. The heights of the buccal and palatal bone ridges were determined at the major axis of the tooth. The buccal bone thickness was measured across five lines. The first was at the level of line E. The second was at the most apical point of the tooth, and the other three lines were equidistant between the apical and the cervical lines, and parallel to them. Statistical analysis was performed with a significance level of $P{\leq}0.05$ for the bone thickness means and standard deviations per tooth and patient for the five lines at varying depths. Results: The means of the buccal wall thicknesses in the central incisors, lateral incisors and canines were $1.14{\pm}0.65mm$, $0.95{\pm}0.67mm$ and $1.15{\pm}0.68mm$, respectively. Additionally, only on the left side were significant differences in some measurements of buccal bone thickness observed according to age and gender. However, age and gender did not show significant differences in heights between the palatal and buccal plates. In a few cases, the buccal wall had a greater height than the palatal wall. Conclusions: Less than 10% of sites showed more than a 2-mm thickness of the buccal bone wall, with the exception of the central incisor region, wherein 14.4% of cases were ${\geq}2mm$.

• (The)Study of the Eastern Classic
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• no.59
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• pp.183-211
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• 2015

This paper is to clarify the literary value of sino-korean poems interposed in Changseongamuirok. As the author of Changseongamuirok is thought to be a person with considerable knowledge of sino-korean literature, the sino-korean poems interposed in Changseongamuirok can be the clue to examine his literary ability. Furthermore, evaluation on the sino-korean poems interposed in Changseongamuirok can have the verification of Changseongamuirok's literary value and of the author's ability to create novels and to compose literary pieces be possible, and is thought to help determining who wrote Changseongamuirok. The sino-korean poems interposed in Changseongamuirok is not necessary parts for composition or development of the entire piece but additional parts for explaining and verifying characters and situations. Functions and roles of the interposed sino-korean poems are indeed very limited, but it is thought that the reason the author interposed such sino-korean poems into the piece is that those poems perform functions more than superficial limited ones. When the composition of Changseongamuirok and the literary achievement of its interposed sino-korean poems are examined, it can be thought that the author of Changseongamuirok achieved the level of professional novel writer. From the point of view, it can be said that Changseongamuirok was written in the time closer to the $19^{th}$ century than to the $17^{th}$ century and that the author also had literary and narrative creativity with considerable sino-korean literary ability. Such an author adopted sino-korean poems since he thought those interposed sino-korean poems took important roles for strengthening novelistic value and literary excitement. Further and deeper interests in and researches on sino-korean poems interposed into novels of Joseon dynasty period are expected.