• Science of Emotion and Sensibility
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• v.17 no.4
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• pp.109-122
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• 2014

The present study focused on frustration emotion investigated the variables evoking frustration and the process in which sense of frustration would be overcome, and explored the principle of aesthetics the consumers under the frustration might prefer in choosing goods. The results of this study are as follows. First, consumers usually felt frustration rather than anger when it became obvious that their objectives could not be met and that they failed to achieve their objectives due to uncontrollable cause. Second, consumers who felt frustration wanted to receive emotional support and comfort from close acquaintances rather than to cope actively with the unsuccessful situation by renewed challenges. Third, consumers, once frustrated, preferred harmony principle rather than emphasis principle in terms of esthetics in choosing design of goods. Therefore, marketing managers are advised to approach to the consumers who felt frustration on the basis of harmony principle in design of goods.

• Journal of the Korean Society of Costume
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• v.40
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• pp.51-65
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• 1998

In this study the features expressed by the Korean dresses and its ornaments have been examined through the objects of this thesis, the concept of the pair, under the basis of Korean myths, from which esthetic and spiritual values have been derived. At first, the beauty of the balance pursuing the neatness. Since the pair is made with two piecess, at the time of the placement, the sense of the balance is obtained by the arrangement acccording to the dichotomous principle such as up and down or left and right. Sometimes, the pair could yield the natural pictorial composition, but almost of the time symmetrical composition. This kind of composition is made symmetrical like the structure of the human body, and it is resulted in a neat beauty, which visually presents a harmony, stability and intimacy. At second, the beauty of the harmony in the spirit of the oneness. From the dualistic combination basing on Korean myths, the common features and the significance of the co-existence, obtained from the combination of the pair of the pieces, could be found. By the oneness of the both elements, the creation principle, which is the basic one for a new life, could be established, and the mystery of the creation and the sense of the harmony could be found in it. At third, the wholeness of the completeness concept. The completeness could be felt rather by two than by one, and is provided with a room to be filled with the other one. Consequently, the outer dress is completed with the under dress, and its own beauty could only be made out when the two elements are harmonized. So, it is called as the pair. Like this, the concept about the pair taken roots in the ground of Korean emotions, is basing on the creation principle of the dualistic elements formed from the tradition of Korean myths, and the fact that the mental meaning pursuing the harmony dwells in Korean dress and its ornaments could be confirmed.

• Korean Journal of Logic
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• v.16 no.1
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• pp.87-115
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• 2013

In my previous article "The Uncontested Principle and Wonbae Choi's Objections", I argued that the validity of modus ponens (as a deductive inference) is compatible with the claim that the Uncontested Principle is controversial. In his recent paper "The Uncontested Principle and Modus Ponens", Wonbae Choi criticizes my view again by making the following three claims: First, even though I do not take an inference of the form 'If A then (probably) C. A. $\therefore$ C' as an instance of modus ponens, this form of inference can be taken to be such an instance. Second, there is no grammatical indicator which allows us to distinguish between an indicative conditional based on a deductive inference and an indicative conditional based on an inductive inference, so that inferences based on these conditionals should not be treated as different types of inferences. Third, if we allow an indicative conditional based on an inductive inference, we thereby violate the so-called 'principle of harmony', which any logical concept should preserve. In this paper, I reply that his criticisms are all implausible.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Korean Journal of Logic
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• v.15 no.3
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• pp.375-392
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• 2012

In a previous paper I argued that the denial of the uncontested principle results in the denial of modus ponens. In his reply Byeong Deok Lee explicitly says that he does not deny the validity of modus ponens though he still does not accept the uncontested principle. In this paper I show that his view is untenable.

• Journal of the Korean housing association
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• v.15 no.4
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• pp.9-16
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• 2004

Architectural theories in western architecture have been considered as a basis for answering the fundamental questions of architectonics: proportion, symmetry, color, harmony and so on. Among those the architectural design theory is significant, since it affects the aesthetic evaluation of human perception. This paper gives an outline in applying the traditional design principles of architecture to contemporary architecture by 'unification through similarity' of architectural components such as form, scale, texture and color. As we see from this research, unification can be achieved in a design by the combination of the four components; that is, to balance between the four above-mentioned components in buildings, through the similarity of one or more of these components.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.81-90
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• 2021

There are various optimization problems in real world and research continues to solve them. An optimization problem is the problem of finding a combination of parameters that maximizes or minimizes the objective function. Harmony search is a population-based metaheuristic algorithm for solving optimization problems and it is designed to mimic the improvisation of jazz music. Harmony search has been actively applied to optimization problems in various fields such as civil engineering, computer science, energy, medical science, and water quality engineering. Harmony search has a simple working principle and it has the advantage of finding good solutions quickly in constrained optimization problems. Especially there are various application cases showing high accuracy with a low number of iterations by improving the solution through the empirical derivative. In this paper, we explain working principle of Harmony search and classify the leading research in recent 3 years, review them according to category, and suggest future research directions. The research is divided into review by field, algorithmic analysis and theory, and application to real world problems. Application to real world problems is classified according to the purpose of optimization and whether or not they are hybridized with other metaheuristic algorithms.

• Journal of Sasang Constitutional Medicine
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• v.32 no.3
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• pp.18-32
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• 2020

Objectives In order to find out the relationship between the Eight Principle Pattern Identification of Cold-Heat, Deficiency-Excess and the Sasang constitution, we analyzed the clinical data from 500 women with menstrual pain and women without menstrual pain. Methods In the previous study, the subject's information of Typology Complexion Pulse and Symptom was collected, and Eight Principle Pattern Identification was executed based on this. Later, the relationship between the Sasang constitution and the Eight Principle Pattern Identification was statistically analyzed. Results and Conclusion 1. The obvious difference between the experimental group and the control group in the patterns of Cold-Heat and Deficiency-Excess is that patients who complain of menstrual pain do not maintain harmony with the yin-yang ratio, it can be said that the patterns of Cold-Heat and Deficiency-Excess can be a Identification standard that significantly obscures the condition of the disease. 2. There was a significant difference between the Sasang constitution and the Eight Principle Pattern Identification of Cold-Heat. There was no significant difference between the Sasang constitution and the Eight Principle Pattern Identification of Deficiency-Excess.

• Journal of architectural history
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• v.29 no.5
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• pp.51-61
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• 2020

Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation," created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow's theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow's theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical-the body-, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

• Archives of design research
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• v.16 no.3
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• pp.329-340
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• 2003

The purpose of this study is to provide the methods of harmony in color combination of environmental color for apartment in order to improve the image of the urban landscape. For this study, apartment in Iksan City was selected is a sample and twenty two apartments were analyzed. This framework of this study is A. Hard and L. Sivik's color combination model based on Natural Color System. This study examines various theories on environmental color perception and new approaches to color aesthetics, and tries to present perceptual properties that can be applied to environmental color design First, the principle of color harmony feeling in based on nuance and tone. Therefore, to control brightness and chromaticness with are related with nuance is important in color combination. Second, the aesthetic experience in color preception can be defined as a combined effect of similarities and differences of color attributes. Third, color harmony theory is one of the areas that can be benefit a great deal from and interdisciplinary approach, add empirical study such as this can be used as a basis for environmental color design and evaluation.