• Journal of Korea Society of Digital Industry and Information Management
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• v.4 no.4
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• pp.85-101
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• 2008

This study focuses on visual aesthetic factors in the apparel web site design. 103 undergraduates participated in the evaluation of six internet web sites. The evaluation were recorded and analyzed by using the inspection method and a questionnaire. Findings of this study can be summarized as follows: First, the result of SPSS-factor analysis shows that there are 2 distinct factors; 'classical aesthetics' and 'expressive aesthetics'. 'classical aesthetics' and 'expressive aesthetics' can be described by visual aesthetic design. This conceptual confusion relating to 'visual aesthetic design' can be clarified by these findings. Second, as a result of multiple regression analyses, 'classical aesthetics' and 'expressive aesthetics' have a positive influence on 'interactivity' and 'web site evaluation'. This research clarifies the concepts of 'engagement' of Rosen & Purinton as the 'interactivity' between users and web sites. Finally, this study suggests that 'good design' for internet web sites depends on understanding how to attain the appropriate balance between 'classical aesthetics' and 'expressive aesthetics', based on the target customer.

• Cartoon and Animation Studies
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• s.49
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• pp.169-202
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• 2017

In this thesis, we investigate the animation (2001) based on the three phases of the lyrical expression derived from Ye Weiqu's Mono no aware Aesthetic-a Japanese classical aesthetics' perspective, on the aspects of the perceptions of human, world, and nature. By analyzing each component of three phases of Mono no aware Aesthetic, the thesis illustrated that how (2001) utilized and expressed Japanese classical aesthetic and how Japanese classical aesthetics were widely utilized into modern Japanese animations. Moreover, the thesis also stated that Mono no aware Aesthetic has become a creative element in order to answer a development direction with future Japanese animations. Through integrating Japanese unique classical aesthetics into the animation elements, Satoshi Kon, the director of the animation, well carried and expressed the cultural content of Japanese nation, thus promoting a deep understanding of characteristics for Japanese animation which have a wide appeal. In his masterpiece -, the characters building, plot describing, theme expressing, cultural meaning could be analyzed respectively by means of Ye Weiqu's 3 phases of Mono no aware aesthetic, reflecting how inherited the legacy of Japanese classical aesthetics. Furthermore, based on the analysis method, the animation contributed tremendously to Japanese classical aesthetics and Mono no aware aesthetics. Tradition for classical aesthetics could play a role as a creative tool for contemporary and future animation.

• Journal of the Korean Operations Research and Management Science Society
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• v.32 no.2
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• pp.17-40
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• 2007

Most research on web site design has focused on technological factors, while visual aesthetic factors have been considered less important. In contrast, this study focuses on visual aesthetic factors in web site design. Findings of this study can be summarized as follows : (1) The result of SPSS-factor analysis shows that there are 3 distinct factors, 'classical aesthetics', 'expressive aesthetics', and 'usability' 'Classical aesthetics' and 'expressive aesthetics' can be described by visual aesthetic design, 'Visual aesthetic design' can be distinguished from 'usability'. This conceptual confusion relating to 'usability' and 'visual aesthetic design' can be clarified by these findings. (2) As a result of multiple regression analyses, 'classical aesthetics', 'expressive aesthetics', and 'usability' have a positive influence on 'interactivity' and 'web site evaluation'. This research clarifies the concepts of 'expectations' of Grier [18] and 'engagement' of Rosen and Purinton [33] as the 'interactivity' between users and web sites. Furthermore, this research suggests a valid model with high $R^2$(interactivity, 48% : web site evaluation, 68%). (3) Empirical tests show that the differences among users in 'entry point' are related to the characteristics of web sites and the personal characteristics of users. The differences among users in terms of 'scanning time' are closely related to the attitudes and evaluation tendencies of users with respect to web sites. These findings could contribute to the 'search phase' of the Faraday model [16], enabling it to be more precise and extensible. The managerial implication of this study is that customers' preferences regarding web site designs are differences, as their preferences are based on their individual characteristics. Therefore, marketing managers should consider promotional tools on web sites that are relevant to the target market. An optimal strategy for web design could be a carefully-selected combination of factors that are relevant to the 'interactivity' and 'evaluation' of web sites. Additionally, if marketing managers want to attract more favorable attitudes and more affirmative evaluations from users, web sites should be designed so that they are understood more quickly by users. finally, this study suggests that 'good design' for web sites depends on understanding how to attain the appropriate balance between 'classical aesthetics' and 'expressive aesthetics', based on the target customer.

• The Journal of Art Theory & Practice
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• no.16
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• pp.257-272
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• 2013

This paper analyzes six different ways of articulating the relationship between art and politics. It calls attention to the differences that lurk behind the seemingly simple phrase-everywhere in vogue today-the "politics of aesthetics." Five of these models are drawn from contemporary discussions regarding the politics of art. The last model is the attempt to develop an account of the politics of aesthetics that is faithful to the difficult and ambiguous dimensions of the aesthetic experience that were hinted at by the texts of classical philosophical aesthetics. Most notably, this paper is concerned with the idea that the aesthetic experience can be understood as a form of disinterested contemplation-one that is not reducible to cognitive or moral considerations-and with some of the consequences that this entails. It explores some of the political significance that can be attributed to this idea of disinterested contemplation, arguing that the aesthetic should be understood as a withdrawal from the world's pre-established meanings. Unlike some of the other thinkers discussed in this paper, this author doubts that a single, uniform meaning can be ascribed to the aesthetic experience. I thus argue that we need to approach the aesthetic through the networks of textual significance that have been built up around it. Throughout this paper, I attempt to explain how the efforts to link art and aesthetics to politics simultaneously give rise to ideas about the nature of the human community. In looking at the sixth and final model, what I have called the "anarchical politics of aesthetic ambiguity," I argue that the aesthetic tradition offers a rather unique way of understanding the relationship between the individual and the community. Here, we see that the aesthetic is prone to a number of paradoxes, central among them the one that makes art the bearer of a solipsistic pleasure in which we nevertheless discover our capacity for genuinely communicating with others, outside of cliches and banalities.

• Journal of the Korean Society of Costume
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• v.38
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• pp.369-392
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• 1998

In order to identify and describe the central core of fashion desire, the concept of“anti-aesthetics”and“open fashion”were analyzed based on the discourses of postmodernism dis-cussed in the field of sociology, culture, art and philosophy. In this paper, first, the new perspectives of fashion related to modernism and postmodernism were proposed, open concept, anti-aesthet-ics which is ephemerality but eternal ideology. Key principles of postmodernism as anti-aess-thetics mean the philosophy of nihilism proposed by Nietzsche indeterminency, the endd of original art(the death of art), the sublimity provided by Lyotard, and the pluralism to release human from the closed way of thinking, value, ideology. Second, the old and classical definition of fashion,“the differentiation of class”proposed by Veblen and Simmel has been changed into the“differentiation of taste”in postmodern condition. Third, the dichotomous system, that is, ration vs emotion, soul vs body, male vs female, culture vs nature, and so on has been deconstructed and disolved in the postmodern fashion phenomenon using the technique of anti-formalism, such as pastich, parody, bricolage an kitsch for the expression of sublimity and freedom of human.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.301-306
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• 2000

The target of this research is the analysis about Santiago Calatravas works in harmony with the dynamics of architectural technology and aesthetics in contemporary architecture. His first design process in works starts from the observation about the from of nature. He expresses the dynamics of architecture through using the Curve freely. His works express the dynamic movement, the quality of the unique inspiration and the rhythmical impression. As both scientist and artist, Calatrava could be called a classical architect and a man of his times simultaneously. Consequently, contemporary architectural designs shall be gradually focused in the dynamics of the technology and aesthetics as Calatravas ones.

• Korean Institute of Interior Design Journal
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• v.24 no.5
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• pp.21-30
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• 2015

The visual expression system of space realized in Baroque aesthetics is basically grounded on the philosophical view to the world of the time, that is to say the changes of the thinking system in the Renaissance and ontology based on it. Structural aesthetics in Baroque freed from Plato's system of harmony but grounded on Leibniz's process philosophy formed a crucial background to highlight the formal nature of the whole and build a structure based on the inclusive principle of formativity. Also, to solve problems to realize the order and consistency of forms from the whole, Baroque adopted the nonlinear and nonphysical formative system as the principle of building space in works of art. Combining the order system of nature in the Renaissance with manneristic dynamicity as well as formative principle taking shape geometrically, it did establish a variety of aesthetic concepts based on the results of infiniteness and exaggeration expressed from the two forces, the Renaissance and mannerism. This study has found that such Baroque aesthetics did overcome classical planeness and draw continuous mobility from the structures and forms based on that with the transborder concepts of structures, the components of space, as an ultimate system of formative expression. Moreover, this author has drawn and analyzed with the cases of the 17th-century art and architecture the transborder elements manifesting the nature of diverse formative visual elements produced in artistic expressions with that principle of aesthetics, that is the intangible concept of Baroque. Based on that, this researcher intends to come up with technical solutions to solve a lot of environmental and architectural problems we are severely facing nowadays in terms of environmental, physical, and emotional aspects with the theoretical clues and results acceptable to this contemporary era.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.59-68
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• 2006

This paper examines the conceptual shift of wilderness and its legacy to the contradictory view of nature in landscape architecture tradition. In hunting and gathering societies, there was no dichotomy between the cultivated environment and wilderness. 'Wilderness' is a word whose first usage marks the transition from a hunting-gathering economy to an agricultural society. We can identify two archetypal responses to wilderness: classical and romantic. In the classical perspective, wilderness is something to be feared-an area of waste and desolation. The conquest of wilderness and the creation of usable places is a mark of civilization. For the romantics, in contrast, untouched wilderness has the greatest significance; it has a purity that human contact tends to sully and degrade. Wilderness for the romantics is a place to revere, a place of deep spiritual significance, and an object of aesthetic experience. In the Western world, the classical position predominated until the last two hundred years when the romantic concept began to gain more ground. The shift was made possible by the change in the way nature is understood. Modernity and modern science objectified nature. The transition of the concept of wilderness exemplifies the objectification and pictorialization of nature. Wilderness in the modern era is not different from the pastoral landscape which can be controlled by landscape architects.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.96-111
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• 2012

This study is to analyze fashion phenomenon according to the concept of the characteristics of freewheeling to explain the de-constructive, eclectic, avant-garde tendencies in Contemporary Fashion. This study is to elicit the aesthetic characteristics through 400 pieces of visual data analysis from 2001S/S to 2011F/W that have the characteristics of freewheeling, nontechnical experiments do away with the classical form. The oriental ideas include the thoughts of different tastes that break the stereotypes according to the Western values and the pursuit of unconventional beauty. These also insist that everything in the world including human-being, nature and creation is not divided into two equal parts, and even beauty and ugliness originated from one. This study is to find the possibility of interpreting oriental aesthetics with open concepts that transcends the boundaries of full availability, unlike the Western values that accommodate the relative concept of the pursuit of diversity. Therefore, integrated and systematic approaches of oriental aesthetics that place much value on the coexistence of antithetic concepts are needed to understand the ambiguity of complexity and diversity in Contemporary fashion design.