• 감성과학
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• 제7권4호
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• pp.7-17
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• 2004

최근까지 제품디자인에 있어서의 조형요소의 심미성에 관한 연구가 많이 진행되어 왔다. 그러나 기존의 연구는 "심미성 요인이 무엇인가\ulcorner"에 초점을 맞추어 왔을 뿐 각각의 심미적 요소들이 사용자의 심미적 반응에 어떻게 영향을 미치는지에 대해서는 그다지 연구된 바가 없다. 따라서 본 연구는 제품디자인에서 심미성 요소를 내용미와 형태미로 나누어 서로의 상관관계를 파악하고 사용자의 심미적 반응에 어떠한 영향을 미치는지를 알아보는 연구이다. 더욱이 연구의 초점이 내용미 중 전형성을, 형태미 중 균형을 중심으로 서로의 심미적 반응의 영향정도와 관여수준과 국가와 같은 조절변수에 의해 심미적 반응이 어떻게 달라지는지를 검증하고자 하기 위한 연구이다. 본 연구를 통하여 실제로 디자인 현장이나 기업에서 디자인에 있어서 심미적 영향요소를 적용하는 데에 대한 의미 있는 시사점을 제공해주고 디자인의 심미성에 대한 이론적인 체계를 만들어가는 것에 기여하리라 본다. 기여하리라 본다.

• 한국콘텐츠학회논문지
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• 제17권7호
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• pp.22-30
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• 2017

CGI는 영화와 애니메이션이 디지털시네마와 디지털애니메이션으로 진화하는데 결정적 역할을 했을 뿐만 아니라 대중 상업 영화와 애니메이션 안에 리얼리즘 시각중심의 스펙터클의 영상문화를 정착시킨 중요한 시각형식이다. 영상문화를 설명하는 도상성, 포토리얼리즘, 핍진성, 언캐니밸리, 하이퍼리얼리즘, 스펙터클 사실주의 담론 연구를 통해 CGI 시각형식이 세 가지 관점에서 구조화될 수 있음을 발견하였다. 첫째는 그림과 사진의 도상적 차이에서 생기는 조형적 관점이고, 둘째는 시각적으로 인지되는 자연스러움과 이상함을 사실적 개연성의 문제로 보는 인식적 관점이다. 마지막으로 영화와 애니메이션의 미학적 전통에 뿌리를 둔 관습적 관점이다. 그리고 이렇게 구조화된 시각형식의 틀로 영화 '정글북'(2016)에 사용된 CGI의 특징을 분석하였다. 결과 이 영화는 사실적인 개연성의 바탕 위에 극사실적 포토리얼의 사진적도상성을 가지고 있다. 그리고 과장 및 증폭된 시각적 내러티브를 주된 시각형식으로 하는 영화의 영상미학적 관습을 따르면서 동시에 동물캐릭터의 의인화로 인해 애니메이션 영상미학의 관습도 충분히 가지고 있음을 알 수 있었다.

• 복식
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• 제37권
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• pp.71-88
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• 1998

This study will analyze the aesthetic qual-ities revealed in the work of Vivienne Wes-twood in order to gain an understanding of the development process and uniqueness of modern avant-garde fashion. Westwood gained worldwide recognition in the 1970s as the Punk movement emerged in London. Although her works have often been described as decadent and anti-establishment, her anarchic view of fashion has had a considerable influence on other designers, both in England and around the world. Vivienne Westwood's works can be divided into three periods. In the first period(1971∼78). Westwood design demonstrated elements which were variations of the subcultural Punk style. The noteworthy designs of this period included ripped T-shirts, bondage clothes, and fetishist accoutrements. In the second period(1979∼83), her designs expressed elements from ethnic and primitive tribal societies through the 'Pirate', 'Savages', 'Buffalo Girls', 'Witches' collections, which inspired New Romanticism movement. In the third period (1985∼ ), through works such as 'Mini-Crini'collection, her works identified elements from the old west and used materials such as crinoline and Harris tweed and contemporized them by rearranging the innovative technique. In the end the news synthesis helped formulate new ideas. The aesthetic qualities in Vivienne Wes-twood's works can bed identified with the following themes : Punkature, Erotic Intelligent-sia, Anarchic Collage. First, within Punkature, Westwood's ideas are at the forefront as her impact on the cut of clothes and creative detailing have been considerable. Also, while her ideas can be extreme, her clothes are wear-able, resulting in the synthesis of Punk and couture. Second, as Erotic Intelligentsia, Vivienne Westwood does not present sexuality as a straight forward attribute that fashion so often tends to do, but instead as a matter for inquiry, exploration and debate. She asserts that sexuality is always an interplay between the polarities of masculine and feminine, of dress and undress. Third, as Anarchic Collage, she has taken, juxtaposed, and transformed objects and symbols from dominant culture, like every modern subversive movement from Dada to Punk. She has continued this form of anarchic collage, mixing styles from various times and places, taking them out of their traditional context. From thiss viewpoint, Vivienne Westwood's works can be considered to be made up of past themes merged with is contemporary. The usage of contrasting elements such as Punk and couture to communicate her ideas visually or technically.

• 복식
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• 제25권
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• pp.5-20
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• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• 인문언어
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• 제2권1호
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• pp.213-235
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• 2002

The purpose of this paper is to study on the aesthetic modernity of Baekseok's poetry. They say that Baekseok's poetry have the motives of the folk-customs and his native language which have been studied for the purpose of showing the subject character of Baekseok's poetry. Baekseok's poetry consisted of the dark imagery are based on the reality of our national loss and his lose living, so the approaching for the purpose of showing the subject character is more suitable for the understanding of the world of his poetry. But this paper Is approached by what the aesthetic modernity of Baekseok's poetry is, because the understanding of how the modem poetry are composed of is more important reading pattern on them. The special feature of his poetry is composed of the ironic poetics figured by the anti-subjectivity like the stylistic of the Imagism, the child narrator, and the pessimist narrator. His poetry written by the Imagism stand for the Apollo Modernism, and his poetry written by the child narrator and the pessimist narrator stand for the Dionysus Modernism. His poetry anti-subjected through the Imagism have been written with the motives of the home-nature and the native people, which have created the objective modernity. His poetry through the child narrator have been written with the motives of our folk-customs, and them through the pessimist narrator have been written with the paradoxical speech, which have created the subjective modernity. Especially, the Shamanism-poetry through the child narrator have created the aesthetik of the Schreckens. Others have created the ironic poetics through the anti-subjectivity and the exaggerated paradoxical rhetoric. In conclusion, it is more reasonable point of view that the special feature of Baekseok's poetry is based on the dual modernism like the Apollo and the Dionysus.

• 대한치과교정학회지
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• 제44권4호
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• pp.184-194
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• 2014

Objective: To evaluate the relative importance of bilabial prominence in relation to other facial profile parameters in a normal population. Methods: Profile stimulus images of 38 individuals (28 female and 10 male; ages 19-25 years) were shown to an unrelated group of first-year students (n = 42; ages 18-24 years). The images were individually viewed on a 17-inch monitor. The observers received standardized instructions before viewing. A six-question questionnaire was completed using a Likert-type scale. The responses were analyzed by ordered logistic regression to identify associations between profile characteristics and observer preferences. The Bayesian Information Criterion was used to select variables that explained observer preferences most accurately. Results: Nasal, bilabial, and chin prominences; the nasofrontal angle; and lip curls had the greatest effect on overall profile attractiveness perceptions. The lip-chin-throat angle and upper lip curl had the greatest effect on forehead prominence perceptions. The bilabial prominence, nasolabial angle (particularly the lower component), and mentolabial angle had the greatest effect on nasal prominence perceptions. The bilabial prominence, nasolabial angle, chin prominence, and submental length had the greatest effect on lip prominence perceptions. The bilabial prominence, nasolabial angle, mentolabial angle, and submental length had the greatest effect on chin prominence perceptions. Conclusions: More prominent lips, within normal limits, may be considered more attractive in the profile view. Profile parameters have a greater influence on their neighboring aesthetic units but indirectly influence related profile parameters, endorsing the importance of achieving an aesthetic balance between relative prominences of all aesthetic units of the facial profile.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• 제1호
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• pp.167-175
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• 2001

After World War II, Japan experienced a great political and social shift, which brought a concern of emerging public landscape in urban development. This paper analyses the management of the aesthetic intentions in urban design effort. We reviewed the development of various public installation of artworks concerning urban landscape aesthetics through its administrative process in chronological order. The monuments during the first decade marked a shift in emphasis from the militarism of the pre-war and wartime period to one of peace. However, some of the monuments and sculptures are not immune to controversy. This became an issue that could no be ignored by public officials whose responsibility was to place the sculptures while maintaining sensitivity to public opinion. As public administrators began to consider the possibility that sculptures may contribute to improving public amenities, the contextual concepts were basically ignored. Some of the programs in 1970s began to show more respect to the context, while other programs in this period expressed more interest in educational aspects of sculptures in the public spaces. Urban development projects also seek to introduce artworks integrated to their urban design concepts in 1990s. Generally, the administrators responsible for these programs were rarely trained in any relative field study other than public administration. Installing sculptures tended to be considered as part of public works projects on the level of urban planning and construction. The general public is basically removed from participating in the critical decisions that actually impact their lives in relation to the artworks. In conclusion, public art in japan has unique social and historic background both in its advantages and disadvantages. Issues pertaining to art in public spaces have evolved over the decades as the term "sculpture pollution" began to appear by the mid 1990s. most of the problems originated in either the lack of monumentality, contextual consideration, quality, or public participation. From another point of view, these programs played great roll in the development of modern Japanese sculpture and patronizing process, and the creation of new urban landscape with aesthetic value. In this sense, they must be considered as successful and noteworthy examples of cultural administration and urban design policy.

• 한국가구학회지
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• 제20권5호
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• pp.504-516
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• 2009

Korean traditional architecture has been carried out in the manner that it harmonized surrounding natural environments and never disturbed them in the scale which did not overwhelm the nature, based on the view of architecture predicated on Yin Yang School. The exposed grain of the wood like pillar, hinge and house rafte, the linear expression of the construction material and the formation between the window and door monopolizing the front side presented a harmony with the nature showing the linear structure. Furthermore the ceiling is low due to the sit life style thanks to the ondol (Korean under-floor heating system and the furniture was made in simple manner to utilize the space as large as possible, for the interior was narrow and close, and also the furniture placing in the middle of the room was movably manufactured to improve the room space. Like this Korean traditional furniture was close associated with the low height and simplicity and harmonized with the blank of the wall accordingly, and it characterized linear & planar natural beauty focusing on the simple and refined unique beauty, because it was made in a good harmony with the interior utensils. This study has presented that the organic characteristics of Korean traditional aesthetic of architecture and the natural beauty being intrinsic in traditional furniture have a mutual relation on the basis of not only the visual recognition, also the aesthetic of naturalism made of the natural material, the constructional naivety as a frame method and the linear & planar formative beauty shown in appearance.

• 디자인학연구
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• 제17권3호
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• pp.179-188
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• 2004

최근까지 제품디자인에 있어서의 조형요소의 심미성에 관한 연구가 많이 진행되어 왔다. 그러나 기존의 연구는 "심미성 요인이 무엇인가\ulcorner"에 초점을 맞추어 왔을 뿐 각각의 심미적 요소들이 사용자의 심미적 반응에 어떻게 영향을 미치는지에 대해서는 그다지 연구된 바가 없다. 따라서 본 연구는 제품 디자인에서 심미성 요소를 내용미와 형태미로 나누어 서로의 상관관계를 파악하고 사용자의 심미적 반응에 어떠한 영향을 미치는지를 알아보는 연구이다. 더욱이 연구의 초점이 내용미 중 전형성을 형태미 중 리듬을 중심으로 서로의 심미적 반응의 영향 정도와 가격과 브랜드력 같은 조절변수에 의해 심미적 반응이 어떻게 달라지는지를 검증하고자 하기 위한 연구이다.본 연구를 통하여 실제로 디자인 현장이나 기업에서 디자인에 있어서 심미적 영향요소를 적용하는 데에 대한 의미 있는 시사점을 제공해주고 디자인의 심미성에 대한 이론적인 체계를 만들어 가는 것에 기여하리라 본다.것에 기여하리라 본다.

• 한국조경학회지
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• 제26권2호
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• pp.62-72
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• 1998

The purpose of this study is to suggest objective basic data for environmental resource planning through the evaluation of the visual quality by GIS. For this, Landscape information system have been made up of topographical and superficial information and landscape values of Cheju Island have been evaluated by using Grass 4.1, degree of visual preferences have been measured mainly by questionnaires and finally these data have been analyzed by using the correlation. Result of this study can be summarized as fellows, in the landscape value, remarkable views play a role as the dominant landscape information. Also, LCPs including various, successive view or a lot of visibility amount have high Landscape value. Therefore, it is important to management landscape which can preserve values of landscape elements through the creation of visibility area. In the visual preference, remarkable scenes play a part as a dominant factor. Also, LCPs including a wide field of vision or successive view have high visual preference. Therefore, it is proved that the visual preference is related to a field of vision and remarkable scenes. Finally, these data have been analyzed by using the regression, in order to verify the method. The result is that a R\sup 2\ is 0.715. It means that correlation is significant at the 0.01 level. In conclusion, the results of this study reveal that visual preference has been evaluated by aesthetic variables and landscape values have been evaluated by GIS. And visual preference and landscape values are closely correlated. In other words, it is possible to evaluate the aesthetic value by physical variable. The method of evaluationi is used in Cheju Island, and it will be possible to apply this method to other places. And this method can be applied to other places by special quality and landscape informatioin system, made up of landscape elements. Also, it will be possible to keep up management and applicatioin that is evaluated by GIS and computer program. Recently, there is a tendency tat visual and aesthetic approach, based on planners' experiences and intuitioin is gradually changed to the scientific approach, based on a objective data. Therefore, it is important that the measuring system is based on objective data which are concerned with a special quality of landscape. It is also significant that the environmental planning is based on a spatial image of physical environment and major landscape elements.