• Cross-Cultural Studies
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• v.25
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• pp.267-290
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• 2011

The purpose of this study is examining a circulation and conflict of concepts and logics of the $Chos{\check{o}}n$-ness by analysing the $Chos{\check{o}}n$ national character and $Chos{\check{o}}n$ aesthetic consciousness. As entering the modern period, we understood the nations as a unit of the artistic awareness. So, national art is defined as a national character expression from this period. The $Chos{\check{o}}n$ aesthetic consciousness by raising in this period, which is connected with the discourse of national character, carry out a discussional practice defining the Korean originality. However, there is a circulation and conflict of concepts and logics about the $Chos{\check{o}}n$ aesthetic consciousness in the process of a discussion. For the most representative examples are 'the white-clad folk' and 'the beauty of sorrow'. An Hwak and Yanagi Muneyoshi are representative debaters who try to establish the $Chos{\check{o}}n$-ness and their discussion supports these facts. As An Hwak regressing of the respect for high antiquity, he demolished the historical character from the $Chos{\check{o}}n$-ness and overlooked aesthetic differences by a periodical change. Yanagi Muneyoshi totally separates arts from politics and disposes of Korean arts in an abstract timeless-space. The function of such an early-modern period's discourse about $Chos{\check{o}}n$ aesthetic consciousness is that $Chos{\check{o}}n$ national character makes the dehistoricization and depoliticization.

• Archives of Craniofacial Surgery
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• v.22 no.1
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• pp.1-10
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• 2021

Botulinum toxin type A (BoNT-A), onabotulinumtoxinA (Botox) was approved by the United States Food and Drug Administration for temporary improvement of glabellar lines in patients 65 years and younger in 2002, and has also been used widely for aesthetic purposes such as hyperhidrosis, body shape contouring, and other noninvasive facial procedures. BoNT-A inhibits presynaptic exocytosis of acetylcholine (ACh)-containing vesicles into the neuromuscular junction at cholinergic nerve endings of the peripheral nervous system, thereby paralyzing skeletal muscles. ACh is the most broadly used neurotransmitter in the somatic nervous system, preganglionic and postganglionic fibers of parasympathetic nerves, and preganglionic fibers or postganglionic sudomotor nerves of sympathetic nerves. The scientific basis for using BoNT-A in various cosmetic procedures is that its function goes beyond the dual role of muscle paralysis and neuromodulation by inhibiting the secretion of ACh. Although the major target organs for aesthetic procedures are facial expression muscles, skeletal body muscles, salivary glands, and sweat glands, which are innervated by the somatic or autonomic nerves of the peripheral cholinergic nerve system, few studies have attempted to directly explain the anatomy of the areas targeted for injection by addressing the neural physiology and rationale for specific aesthetic applications of BoNT-A therapy. In this article, we classify the various cosmetic uses of BoNT-A according to the relevant component of the peripheral nervous system, and describe scientific theories regarding the anatomy and physiology of the cholinergic nervous system. We also review critical physiological factors and conditions influencing the efficacy of BoNT-A for the rational aesthetic use of BoNT-A. We hope that this comprehensive review helps promote management policies to support long-term, safe, successful practice. Furthermore, based on this, we look forward to developing and expanding new advanced indications for the aesthetic use of BoNT-A in the future.

• Archives of Plastic Surgery
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• v.49 no.1
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• pp.108-114
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• 2022

Reconstruction of defects around the knee region requires thin and pliable skin. The superior lateral genicular artery (SLGA) flap provides an excellent alternative to muscle-based flaps. The anatomy and the surgical techniques of the SLGA flap were reviewed and the results of cases using the SLGA flap for coverage of knee and proximal leg defects were analyzed. SLGA flaps were performed in two cases and followed up for at least 6 months. Twelve articles on the use of the SLGA flap were also identified. A review of 39 cases showed that the mean diameter of the perforator supplying the skin of the flap was 1.04 mm, while the mean diameter of the SLGA at its origin was 1.78 mm. The mean length of the pedicle measured from the origin of the popliteal artery was 7.44 cm. The average dimensions of the flap were 14.8×6.6 cm with primary closure of the donor site in 61.5% of cases. Of these cases, 38.5% were due to trauma, 23.1% were post-burn complications, 12.8% were defects after resection of tumors, and 10.3% were for ulcers post-bursectomy. The most common complication was flap tip necrosis. All studies reported favorable outcomes with complete wound healing.

• Archives of Plastic Surgery
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• v.50 no.6
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• pp.601-609
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• 2023

Background The anterolateral thigh (ALT) flap is a preferred option in the reconstruction of a wide variety of defects, enabling multiple tissue components and thicknesses. Methods This study was conducted to investigate the correlation of the thickness of the traditional subfascial ALT flap and superficial fat flap with age, gender, and body mass index (BMI). A total of 42 patients (28 males and 14 females) were included in the study. Results Mean age was 50.2 (range, 16-75) years and mean BMI was 24.68 ± 4.02 (range, 16.5-34.7) kg/m². The subfascial flap thickness was significantly thinner in male patients (16.07 ± 2.77 mm) than in female patients (24.07 ± 3.93 mm; p < 0.05), whereas no significant difference was found between male (4.28 ± 1.15 mm) and female patients (4.85 ± 1.09 mm) regarding superficial fat flap thickness (p = 0.13). The thickness of both flaps had a positive correlation with BMI, and the strongest correlation was found for subfascial ALT thickness in female patients (r = 0.81). Age had no effect on both flap thickness measurements. The anterior thigh is thicker in women than in men, although it varies according to BMI. This shows that flap elevation is important in the superthin plane, especially if a thin flap is desired in female patients in defect reconstruction with the ALT flap. Thus, a single-stage reconstruction is achieved without the need for a defatting procedure after subfascial dissection or a second defatting procedure 3 to 6 months later. Conclusion The appropriate ALT flap plane should be selected considering the gender and BMI of the patient.

• Archives of Plastic Surgery
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• v.48 no.3
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• pp.245-245
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• 2021

• Smart Media Journal
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• v.3 no.3
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• pp.36-45
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• 2014

Based on the perception of Maurice Merleau Ponty, This study defines that Moving is a form lively to experience meaning, pleasure as the aesthetic attribute structured to a product, expression and value are synthesized into. The purpose of study is to argue that Wearable, Ubiquitous, Interaction, Play, D, I, Y, Universal, Ecology are the forms, modalities that the moving is variously subjected to the product design. Above This is the result reasoned according to analogical form as below between the moving and all design forms. First, The moving as the aesthetic expression and value are synthesized into is the intrinsic, general proposition, maxim for the value judgement. Second, All design forms are the cases which the values based on the aesthetic expression system are subjected to Third, Thus All design forms are the modalities of the aesthetic expression based on the values. The certainty of this judgement, reasoning is the proof that the correspondence between the moving as the aesthetic expression and design form is the fact. That is to say, It is the proof that Users lively experience the aesthetic meaning, pleasure in fact as the aesthetic values are subjected to all design forms. The lived experience of each user in their daily life itself is the only method or assurance for this. The moving integrates the existence of a product and what should be of users into the aesthetic dimension and at the same time, is realized based on this. The emphasized theme in all cases of this study is not the product but the moving. So, The product design is changed into the action which structures the moving like above to a product.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.78-89
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• 2012

This study aimed to interpret aesthetic properties of post-industrial parks with a perspective of the sublime. It examined the roles of the sublime related to landscape architectural history and traced aesthetic characteristics of post-industrial parks based on aesthetic issues of the sublime. In the history of landscape architecture, the sublime had expanded the scope of aesthetic enjoyment. It had operated as an alternative aesthetic category against conventional landscape design. At the same time, it had been associated with the original role of landscape architecture, which created artworks by taming wild and terrible qualities of wilderness or brown field. This study discovered sublime characteristics of post-industrial parks, inquiring into the relationship between the aged industrial infrastructures and wild plants. First, the sense of industrial structure and the sense of plants have conflict dialectically, constructing an aesthetic field of unique sensory experiences. Second, the dialectical relationship produced an uncertainty in time so that people can experience the complexity of time. Third, post-industrial parks proposed an alternative view of nature. Post-industrial parks presented healing power to restore contaminated land through ecological design strategy so that people can find the quality of wilderness in the brown field of urban landscape. As a result, an aesthetic experience of post-industrial parks produced a sublime impression.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.129-140
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• 2017

This study aims to interpret the current landscape design of the place and landscape of memory, such as post-industrial parks and memorials that have an old, aging appearance from an aesthetic perspective. The objects of the study are large parks and open spaces that have collective memories for visitors. Visitors' aesthetic experience from these places and landscapes of memory could be explained by aesthetic concepts such as the sublime, nostalgia, and melancholy. Because these aesthetic concepts are associated with past traumas, visitors may be affected morbidly. However, due to the capability of the media to form an aesthetic experience when visitors visit a given place and landscape, visitors can autonomously adjust the distance to the place of memory and gain an aesthetic experience. The aesthetic experiences through the sublime, nostalgia, and melancholy are based on temporality and irreversibility. Temporality here refers to a characteristic of memory, and time in the place and landscape of memory and is based on the irreversibility of time, as time cannot go back. Both the place memory and the memory that is recalled from the combination with visitor's past memories and knowledge are two major factors involved in the construction of the aesthetic experience in the place and landscape of memory. The results of the present study are meaningful in that this study presents a framework for a better understanding and use of both the place memory and appreciators' memory in the design process of a place and landscape of memory and also criticizes a materialistic approach that fails to take into account the visitors' memories.

• Science of Emotion and Sensibility
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• v.7 no.1
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• pp.29-40
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• 2004

Even though rhythm is considered theoretically and practically as a form element influencing consumer's aesthetic response on product design, researches on it relatively less performed than other product aesthetic elements. And also existing researches have only suggested rhythm as one of aesthetic elements in product design but they haven't suggested overall insight on how to apply rhythm into product design. This study tested how rhythm expression in product design affects consumer's aesthetic response according to price level and brand hierarchy. The result shows that rhythm is clearly one of aesthetic elements. And rhythm expression increase consumer's aesthetic response in low priced product condition regardless of brand hierarchy. But in high priced product condition, rhythm expression decreases consumer's aesthetic response because of perceived risk. Only when in high prestige brand condition, consumer's aesthetic response remains high because of trade-off relationship between perceived risk and brand equity. The result of this study enables designers to understand characteristics of rhythm. Also, the result can give companies the useful way on how to use rhythm element as a strategic tool if they consider their brand equity level and product's price level.

• Korean Association for Visual Culture
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• v.35
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• pp.5-33
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• 2019

This paper examines the problems of the concept of 'analogon' which occupies an important place in Jean-Paul Sartre's theory of imagination and his 'aesthetic of the unreal', focusing on Michel Dufrenne's objection to the concept. In the Imaginary (1940), Sartre offers a phenomenological account of the imaginative experience and his theory of imagination provides the basis for his account of experience of art. Sartre distinguishes the imagining consciousness from the realizing consciousness of perception. The work of art, for Sartre, is transformed into an irreal thing ("The work of art is irreality."), i.e. it appears only as aesthetic object, and only under the condition that the spectator's consciousness changes into an imagining consciousness. Some claim that Sartre underemphasizes the function of materiality in artworks. Mikel Dufrenne, in his The Phenomenology of Aesthetic Experience (1953), criticizes Sartre's thesis of irreality. Dufrenne argues that the aesthetic object is the work of art accomplished by aesthetic perception, the meaning of the aesthetic object is given as a whole in the sensuous and does not refer to something that lies outside the object as with imagination or irreality. An affective a priori is the condition of possibility for the occurrence of aesthetic experience.