• Journal of the Korea Furniture Society
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• v.24 no.2
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• pp.113-120
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• 2013

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• Journal of the Korea Furniture Society
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• v.22 no.4
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• pp.245-251
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• 2011

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• KIEAE Journal
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• v.9 no.3
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• pp.29-36
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• 2009

Interior material covering as the final process of house-building, critically influences not only aesthetic character but also air quality of indoor space. Wall covering today, however, caused a serious social problem because of chemicals contained in the industrial wallpaper and artificial glue. In this context, Korean traditional wall covering of Han-ji can be an alternative model due to it's ecological character. Recently 'Hanok' attracts public attention, since society and people become to appreciate the unique beauty and value of our traditional culture. The values include natural beauty, emotional character, and environment-friendliness. Recognizing this, this paper intended to scrutinize the operating process of Han-ji as an interior finish material. Historical research method was employed, tracing the related articles in old literature and interviewing with the witness of the experienced expert. Thereby, healthier and unique aesthetic indoor environment can be expected to be sustainable along with the rich cultural life of ancestors.

• Korea Science and Art Forum
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• v.30
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• pp.217-230
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• 2017

The purpose of this study is to develop a theoretical model identifying how consumers accept a fashionable technology product. A systematic review of 39 influential TAM studies focusing on theory development in the context of information technology results in three tendencies, which become backbone of the model of fashionable technology acceptance. A subsequent review of the nature of fashion fleshes out the backbone with detailed propositions in the more specific context of fashionable technology. The model of fashionable technology acceptance includes key propositions of Theory of Reasoned Action, in which internal beliefs consist of functional, aesthetic and symbolic values, and other factors, such as technology features (i.e., hardware specification, software specification, brand, and price factors), environmental conditions (i.e., technical infrastructure and user occasion), individual differences (i.e., age, gender, experience, personality, aesthetic sense, fashion innovativeness, and income), and social influence (i.e., subjective norms, social reputation, and cultural difference). Implications, limitations, and suggestions for future research are also discussed.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of IKEEE
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• v.28 no.3
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• pp.352-359
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• 2024

This paper proposes a CNN-ViT hybrid model that automatically evaluates the aesthetic quality of images by combining local and global features. In this approach, CNN is used to extract local features such as color and object placement, while ViT is employed to analyze the aesthetic value of the image by reflecting global features. Color composition is derived by extracting the primary colors from the input image, creating a color palette, and then passing it through the CNN. The Rule of Thirds is quantified by calculating how closely objects in the image are positioned near the thirds intersection points. These values provide the model with critical information about the color balance and spatial harmony of the image. The model then analyzes the relationship between these factors to predict scores that align closely with human judgment. Experimental results on the AADB image database show that the proposed model achieved a Spearman's Rank Correlation Coefficient (SRCC) of 0.716, indicating more consistent rank predictions, and a Pearson Correlation Coefficient (LCC) of 0.72, which is 2~4% higher than existing models.

• The Journal of the Convergence on Culture Technology
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• v.10 no.1
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• pp.525-532
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• 2024

This study explores the impact of physical characteristics (e.g., shape, color, material, size, weight, technical features) of smart wristbands and smartwatches on consumers' perceived functional, aesthetic, and symbolic values using an extended technology acceptance model. An online survey was conducted with adult residents of the United States who had experience using smart wristbands or smartwatches. Participants were asked about various physical characteristics of products they had used in the past year or were currently using, and their evaluations of these characteristics. The results revealed that the shape of the front display shape significantly influenced symbolic value, with circle shape and square shpae showing significantly higher symbolic value than rectangle shape. Wristband materials also had a significant impact on symbolic value, with metal and leather showing higher symbolic value among various materials. Additionally, an increase in product size was associated with higher symbolic value. Moreover, certain technical features such as activity tracker, alarm clock, and distance tracking influenced perceived functional value, while functions like time display, GPS, and email influenced perceived aesthetic value. Pedometer, GPS, and email were found to enhance perceived symbolic value. These findings provide valuable insights into consumer preferences for smart wristbands and smartwatches, serving as valuable information for product improvement and new product development.

• 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.

• Journal of the Korean Society of Costume
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• v.51 no.3
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• pp.141-153
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• 2001

The Purpose of this research is to compare the feminine modesties expressed in the clothes of women's college students in 1980s and 1990s, and to find out the social cause of the change of modesty by reference data. Korean women's college students in 1980s considered feminine modesty very important in the selection of clothes but students in 1990's had quite different attitudes. The major cause of this change may be due to the fact that the traditional conservative values in clothes were diminished in 1990's. The main cause of different values in 1980s and 1990s is the rapid social change of korean society in this Period. The concrete factors of changes were the change of authoritarian aesthetic values and the Positive orientation to diversity individuality sensibility and sexuality.