• 한국융합학회논문지
• /
• 제11권8호
• /
• pp.287-296
• /
• 2020

본 연구의 목적은 관객의 참여수준에 따른 미적경험의 차이를 탐색하는 것이다. 미적경험을 대변하는 변수로써 몰입경험과 미적거리가 활용되었다. 총 70명의 학부생들이 본 연구에 참여하였다. 주요 연구결과는 다음과 같다. 몰입경험의 측면에서, 적극적 참여집단은 관조집단 및 소극적 참여집단과 비교하여 상대적으로 더 큰 몰입경험을 느끼는 것으로 나타났다. 그러나 관조집단과 소극적 참여집단 사이에 몰입의 차이는 존재하지 않았다. 심리적 거리를 의미하는 미적거리의 측면에서, 적극적 참여집단의 사람들은 관조집단과 소극적 참여집단에 비하여 예술작품과 심리적으로 더 가까운 거리를 보이는 것으로 나타났다. 또한 소극적 참여집단에 속한 사람들은 관조집단 보다 더 가까운 심리적 거리를 보였다. 본 연구의 결과는 예술가 및 예술조직에게 작품의 완성도뿐만 아니라 관객 유인력을 높이기 위한 함의를 제공한다.

• 복식
• /
• 제55권8호
• /
• pp.112-126
• /
• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.

• 한국환경교육학회지:환경교육
• /
• 제24권1호
• /
• pp.1-11
• /
• 2011

The purpose of this study is to analyze the contents of environment aesthetics for environment education. This study analyzes in accordance with theory of the environment aesthetics of Berleant, A. The results of this study are as follows. The result of analysis the contents of Berleant's environment aesthetics, in his philosophy of environment aesthetics the environment is defined to be inclusive of all and the unity of human and environment is stressed on more than in the current prevailing philosophy of environment education. And environment aesthetics propose the most part of theory and methodology suited for environment education, but, do not mention about a definite theory of 'Skill'.

• 한국콘텐츠학회논문지
• /
• 제18권5호
• /
• pp.409-419
• /
• 2018

본 연구의 목적은 국제해양레저위크(KIMAWEEK) 요트체험 참가자의 체험요인이 체험만족 및 재참가 의도에 어떠한 영향을 미치는가를 살펴보는 것이다. 이에 본 연구는 부산광역시에서 진행되고 있는 KIMAWEEK 참가자 515명을 대상으로 모바일 설문조사를 실시하여 다음과 같은 결론을 도출하였다. 첫째, 요트체험 참가자의 체험요인 중 일탈적, 교육적, 미적 요인은 체험만족에 영향을 미치는 것으로 나타났으나, 오락적 요인은 체험만족에 영향을 미치지 않는 것으로 나타났다. 둘째, 체험요인과 재참가의도와의 관계에서 체험요인 중 교육적 요인과 오락적 요인은 재참가의도에 영향을 미치는 것으로 나타났으나 일탈적 요인과 미적 요인은 재참가의도에 영향을 미치지 않는 것으로 나타났다. 셋째, 체험만족과 재참가의도와의 관계에서도 유의한 영향을 미치는 것으로 나타났다. 본 연구를 통해 KIMAWEEK 요트체험 참가자의 체험만족을 높이기 위해서는 다양하고 차별화된 체험요인이 제공되어야 할 것이며, 특히 지역 특색에 부각되는 현실성 있는 이벤트가 이루어져야 할 것이다.

• 한국실내디자인학회논문집
• /
• 제22권3호
• /
• pp.61-69
• /
• 2013

The conventional boundaries between art and technology are being torn down by the development of science in the 21st century. It is fulfilling the convergence to emphasize two-way communication. This research is to study the aesthetic experience of the space design which appeared in the playful space of art and technology. The purpose of this study is to analyze the expression and characteristics of the art and technology applied for the playful space, to present the intrinsic value of aesthetic experience, and finally to focus on the necessity of aesthetic experience in modern society. In the Playful space of art and technology, research methods and settings of the range to study the aesthetic experience are as follows: First, establish a theoretical consideration about the concept and characteristics of the aesthetic experience, based on Philosophical theories. Second, analyze the meaning of art and the expression elements and characteristics by using technology. Third, discuss the concept of play and features of aesthetic experience in the playful space. Fourth, investigate analysis of the case studies, focused on the architecture and space design announced through the media recently. Finally, proposes the value for the applicability of aesthetic experience that appears playful space works affect us. I saw the aesthetic experience that appears playful space independent reaction and lead to behavioral changes and physical experience to maximize the effectiveness of participation. and it is to maximize a pleasurable experience, while increasing the commitment to participate in the space. Expressions using art and technology are activated by stimulation of the emotional experience, creating a new aesthetic experience. In the modern, the new environment is being created by the convergence of art and technology and it stimulates the imagination of art. Also, it has been newly regulated the meaning of human emotions and consciousness in the new space, surrounded by technology.

• 디지털융복합연구
• /
• 제17권11호
• /
• pp.117-126
• /
• 2019

본 연구는 휴대폰 오프라인 매장에 초점을 맞추어 고객이 매장을 방문하여 제품을 실제로 체험하기 이전의 고객참여 수준 및 브랜드와 맺은 관계몰입이 매장에서의 체험에 어떠한 영향을 줄 수 있는지를 분석하였다. 애플, 화웨이, 샤오미, 삼성 등 휴대폰 오프라인 매장을 체험한 259명 중국 소비자들을 대상으로 데이터를 수집하였다. 연구결과로는 첫째, 고객참여가 브랜드에 대한 규범적 몰입, 감정적 몰입, 지속적 몰입에 모두 유의한 영향을 미치는 것으로 나타났다. 둘째, 이러한 관계몰입은 매장에서의 오락적 체험, 교육적 체험, 현실도피 체험, 미적 체험에 부분적으로 유의한 영향을 미치는 것으로 나타났다. 셋째, 브랜드 팬쉽 수준이 높은 고객일수록 관계몰입이 미적 및 일탈적 체험에 미치는 영향이 더욱 증가하였다. 본 연구의 결과는 고객의 브랜드 체험과 관련하여 고객의 참여와 관계몰입이 미치는 영향을 이해하는데 도움을 주고 체험 마케팅에 시사점을 제공할 것으로 기대한다.

• 무역학회지
• /
• 제47권3호
• /
• pp.93-110
• /
• 2022

This study aims to develop online convention service quality and examine the effect of online convention service quality on re-participation intention in the same convention and other types of online conventions. Based on an extensive literature review, the study chose five main factors of online convention service quality: human service, program service, platform service, platform aesthetics, and interaction. A total of 284 data were collected from online convention participants from July 26 to August 6, 2021. For the hypotheses test, multiple regression analysis was used. As a result, interaction and program service quality had positive effects on re-participation intention in the same convention, but except for platform aesthetic, all factors positively affected re-participation intention in other types of online conventions. This study also found that online service quality factors are more helpful in predicting the intention of re-participation in other types of online conventions rather than re-participation in the same convention. Based on the results, theoretical and practical implications were discussed

• 한국조경학회지
• /
• 제25권4호
• /
• pp.61-81
• /
• 1998

This paper is to explore a new planning paradigm for urban landscape-not a new paradigm for urban landscape planning- in the light of environmental aesthetics. This is an endeavor to construct an alternative to the philosophical absence in the landscape profession. The landscape has been conceived of visual -oriented urban scene, and this notion is one of consequences of subject-object dualism in Western modernity project. In contrast with this convention, the authors consider urban landscape as the aesthetic field in which an experience of urban landscape actually works in human ordinary life and experience. To acquire an aestetic experience in this aesthetic field, we need to replace the doctrine of disinterestedness with engagement and contemplation with participation. This concept of participatory engagement with landscape can be translated in specific and concrete ways into urban landscape planning, replacing the traditional panoramic landscape with engaged landscape. The authors approach the urban landscape from the vantage point of an aesthetics of engagement by developing the four environmental situations : the sailing ship, the circus, the cathedral, and the sunset. They may serve as useful guides in cultivating and beautiful urban landscape to replace the forces of vulgarity and monotony that depress the modern city. What is beautiful urban landscape\ulcorner What makes the urban landscape beautiful\ulcorner Finally, the authors suggest identity and amenity as practical concepts of urban landscape planning for an aesthetic experience.

• 인간식물환경학회지
• /
• 제23권6호
• /
• pp.615-624
• /
• 2020

Background and objective: Urbanization caused a reduction in urban green space and a lack of community spaces. An attempt to solve these problems, urban gardens, have become popular and are currently being implemented in various downtown areas. However, urban gardens have some inadequate aspects from a visual or landscape perspective. The goal of this study was to examine the possibility of an aesthetic and productive garden space by introducing cultivation methods through the planting system design process. Methods: The design process using plants was classified and presented to suggest the importance of the landscape and aesthetic value. An urban garden space was designed according to the perspective of 'production scenery' and 'participation aesthetics'. According to the characteristics of the plant, urban gardens were divided into vertical type (corn, millet, sorghum), climbing type (kidney bean, cucumber, bitter gourd), and runner type (melon, watermelon, peanut). After classifying plants according to the shape of the root, the structure supporting climbing was installed and the crops were cultivated in an upright form with a tunnel. Results: In the designed cultivation, each crop cooperates, without invading each other's space. Compared with the conventional cultivation, there was little difference in production, and management was made more convenient since weed outbreaks were effectively suppressed while runner type crops cover over the land's surface. Since the positions of each crop are clearly distinguished, the aesthetic value is improved by offering a sense of rhythm with a balanced design. Conclusion: The results suggest that the cultivation methods through the plant system design process have aesthetic as well as productive value, and the design using plants, an infinite living resource, could lead to an expansion of the design field. Moreover, it would enable a sustainable symbiosis between industry and environment. There is potential for the design industry to make significant progress through collaboration with agriculture, horticulture, and landscape architecture.

• 한국조경학회지
• /
• 제34권2호
• /
• pp.80-98
• /
• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.