• Science of Emotion and Sensibility
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• v.5 no.2
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• pp.51-61
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• 2002

This study deals with Rhythm which is one of aesthetic variables. Aesthetics among the factors of consumer preference has been importantly considered in competitive market environment. Therefore , consumers' purchasing standard has been also changed as their consciousness has been changed according to the variation of their lire style. Besides, the technique and method of design faces up to the change because of consumers' diverse wishes. Hence, to satisfy consumers' needs and the market front now on characterized as the short durability cycle of products, a distinctive design should be developed in the form of products that can be an important factor to attract consumers preference. So, in this study, 1 will try to understand typology based on a categorization theory and the conceptual structure of aesthetics, which are importantly considered at the same time. In addition, I will establish a new design process by extracting Rhythm affecting aesthetic. Ultimately, this study aims develop more consumer preferring design beyond the limit of a designer's idea and design generation by the result of this study.

• English & American cultural studies
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• v.9 no.1
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• pp.71-90
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• 2009

David Harris argues that mass media suppress counter-hegemonic factors in order to reach audience. According to Harris's theory, the success of the film "Tess" depends on its effective adaptation from Thomas Hardy's novel Tess of the D'Urbervilles (1891). Tess (1979), directed by Roman Polansky, casting Nastassia Kinski for Tess, was acclaimed as a professional and commercial success, awarded with various prizes. Hardy's aim at criticizing Victorian English social and moral standard through Tess appears obscure in Polansky's film which focuses on the aesthetics of human body and capital. Polanski's Tess with urban white beauty does not emerge victimized by poverty, which the late twentieth century audience under the capitalist umbrella may abhor. To examine his use of music, sound effect, visual images by means of camera operation—angles, distances, close-ups and frequent movements—light and color, and mythic elements in the film, show Polansky's sharp perception of his contemporary audience's desire and conscientious work upon it.

• Korean Journal of Child Studies
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• v.36 no.6
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• pp.101-123
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• 2015

The purpose of this study was to examine how musical pieces were presented in music activities on the Teacher's Guidebooks in order for young children to experience the aesthetics of music. For the purposes of this research, the ways to address musical elements and the music activities of 100 musical works in the Teacher's Guidebooks were analyzed. In addition, the aesthetic qualities of the same musical pieces presented by the sound sources were examined. Following this, an analysis of the relationship between the elements used and the aesthetic qualities of the music was carried out by comparing the previous analysis. The results were as follows. First, melody (38.1%), rhythm (29.0%), and timbre (20.5%) were the most utilized elements of musical works in such activities. Secondly, the most utilized method to present music activities was singing. Among 100 musical pieces, 74 pieces used singing activities. Next, the most audible aesthetic quality from sound sources was that of the melody, presented in 69 pieces (46.6%) among 100 musical works. Lastly, among 100 musical works, at least 64 pieces were matched with more than one, whereas 34 did not.

• 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 the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.161-175
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• 2016

Sensitivity has become more important in relation to design in a changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China the discussion had begun. In Korea where the first scholarly discussion on aesthetics had begun around 1929, more and more rigorous and theoretical discussions emerge nowadays. Korean beauty consists of unplanned Beauty and unplanned planned Beauty. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes the nature as it is and Japan values the artful decorative elements. In modern Korean fashion, the characteristic Korean aesthetics of unplanned Beauty appears in the various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and simplified silhouette. Also, there are plays on balance and proportion using straight and curves lines and variegated colors and creative printing, intentional asymmetry, and destrution.

• The Journal of the Korea Contents Association
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• v.22 no.5
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• pp.611-619
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• 2022

This thesis is about body language of Tao Dance Theater by combining Schuster's body aesthetic concept with the aesthetic characteristics of early dancers in modern dance. The body aesthetics of Tao Dance Theater were analyzed from the perspectives of minimalism and abstract aesthetics as they expressed and conducted overall research. Therefore, this study intends to analyze the elements such as the creative intention, content, body aesthetic, and costume stage of Tao Dance Theater's work <10>. Accordingly, it is meaningful in that it understands the aesthetic concept of the body asserted by Lee through the work, and analyzes the current state of development of modern dance art according to the change of the artistic trend.

• Proceedings of the Korea Society of Design Studies Conference
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• 1999.05a
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• pp.56-57
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• 1999

경험적 심미성(experimental aesthetics), Gestalt심리학, 그래픽디자인 및 심볼관련문헌에서는 많은 디자인 심미적 특성들이 심볼에 대한 감정적 반응(affective reactions)에 영향을 미치고있음을 알 수 있다. 그러나 불행하게도 이러한 디자인 문헌속에서는 디자인의 심미적 영향요소들이 인자(recognition), 친밀감(familiarity), 의미(meaning)에 어떻게 영향을 주는지에 대해서는 체계적인 연구가 이루어지지 모하고 있고 실증적으로 시험되지도 않고 있어 심볼 디자인에 대한 지침을 제공하지 못하고 있는 실정이다.(중략)

• The Research Journal of the Costume Culture
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• v.16 no.1
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• pp.88-99
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• 2008

This study aims to analyze product samples of convergence of fashion and technology, as convergence is a major trend in the age of digital paradigm, and to propose desirable directions of development for technology convergence in fashion design in the future. With bibliographic research as well as internet search of the cases of development and commercialization of convergence of fashion and technology from the 1960s, when wearable computers were first introduced as an early development form of convergence, to the present, it becomes possible to classify these cases into three groups: functionally oriented one, aesthetically oriented one, and one that combines function and aesthetics. The pros and cons of each group of these cases are discussed and an evolutionary trend is observed from the earlier stage of convergence with functionally oriented cases which tried to achieve specific purposes of the time to the later stage of convergence with emphasis on both function and aesthetics which reflects the sensitivity of the general wearers. When three groups are plotted in the positioning map with one axis of function-aesthetics and the other of industry-fashion designer, however, all three are located outside of the two axes, suggesting these elements are not very well combined. In order for the products of the fashion-technology convergence in the future to receive favorable response from the consumers, it is necessary for the fashion industry to develop a close collaboration with companies of digital technology and the convergence products not only will have to provide functional benefits of the new technology but also to satisfy the aesthetic demands of the wearers.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.1
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• pp.7-22
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• 1995

Philosophers Of aeBthetics have tended to limit their Suhject to include only objects Of art. In contrast to art objects, landscapes include elements of both art and nature, and the aesthetic experiences of landscape are ordinarty ones. Thus, the theoretical alternatives, that cannot be like the traditional aesthetic dogma of art, must be explored. Jay Appleton's theory is the firsts attempt to develop a comprehensive theory of landscape aesthetics. He concentrates on the question 'what do we like about landscape and why do we like it ' He takes the assumption that the aesthetic experience of landscape is pleasurable or satisfying, and suggests the biologically oriented theory, called 'prospect-refuge theory.'Although his theory is stimulating and highly speculative, it depends on the 'aesthetic attitude' theory of Kantian thought. His theory can be criticized for its biologically deterministic nature and its reductionism To respond to Appleton's shortcomings, that is, to resolve the conflict between biological and cultural explanations of aesthetic experience of landscape, Steven Bourassa tries to combine biological, cultural, and personal modes in a comprehensive paradigm for research in landscape aesthetics. This tripartite paradigm seems to promise to be meaningful if helping to pose important questions as well as in. avoiding conceptual errors about aesthetic domain of landscape. However, Bourassa's theory fails to integrate such three separate kinds of moder In the final analysis both Appleton and Bourassa present same succeases in expanding the scope of aesthetics to embrace landscape. Most important for a theory in landscape aesthetics must be its ability to enlarge our awareness of the aesthetic domain and its sound logic and evidence to criticize our problematic beliefs about he aesthetic idea of landscape.

• The Research Journal of the Costume Culture
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• v.14 no.4
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• pp.529-541
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• 2006

The purpose of this study is to analyze the aesthetic characteristics of PRADA's sports fashion, leading the fashion trend and one of the most influenced designers in 1990's, and thereby, helps to forecast them in the future. We studied the concept of sports fashion and the historic background of PRADA sports fashion. We also used corroborative method resolving Internet illustrated magazine, fashion journals and magazines so as to analyze the aesthetic and formative features from 1990's up to now. The results were summarized as follows ; The sports fashion in 1990's was classified into functional sportswear and town sports look. The functional sportswear can be separated into active sportswear and street sportswear. Town sports look that has been combined the elements of design in active sportswear had characters slim silhouette and simple details influenced by minimalism and reflected on the mainstream of 1990's lifestyle. Especially, PRADA's town-wear using high-tec textiles for sportswear affected on other couturiers and settled down them in the world wide fashion trend with her aesthetic expression. The aesthetic characteristics of PRADA's sports fashion appear the zenith of the minimalism and the elements of postmodernism which expressed remarkably the advanced future and familiar past at the same time as like high-tec materials, and classic silhouettes with functional details. Finally, we are able to anticipate that the aesthetics of PRADA sports look will be continued in the 21C with concerning about well-being, health, and sports & leisure.