• 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.

• The Journal of the Korea Contents Association
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• v.8 no.9
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• pp.94-100
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• 2008

These days, there are a lot of digital images, which are using to communicate with each other people, can make a liberal and creative media. In this environment, the studies on the digital animation would play a leading role of the aesthetic and technology developments for creative digital images. Digital animation images have their own aesthetics, and characteristics. They should be considered as a part of technology expansions. In particular, hyperrealistic digital animation should be more concentrated in the mutual relation between technology and aesthetic, because hyperrealistic digital animation has not only an appartus feature as a side of aesthetics, but a technology feature as a post modernistic media. Therefore the technology of digital animation as a the possibility of future growth for media should adhere strictly the peculiarity of digital aesthetics.

• Journal of Digital Contents Society
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• v.12 no.2
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• pp.225-232
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• 2011

is an innovative creation, accommodating characteristics of various genres and media, ranging from elements of media aesthetics to visual aesthetics and games. Although it takes a form of a book, it exceeds stereotypes seen in paperbacks or eBooks. Because of such differentiated characteristics of this appBook (which is provided in the form of app), it induce users(readers) to conduct interactional activity. This study will mainly discuss about the formation of discourse of app based digital novel in a media aesthetic point of view. Considering the mutual relation between property of media and contents of stories, it is desirable to accommodate the mutuality of understanding between the digital media and formation discourse in creating stories.

• Journal of Digital Convergence
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• v.19 no.2
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• pp.323-337
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• 2021

This study will attempt to analyze media art and discuss its main characteristics by using the concept based on Relational Aesthetics 'Affective Turn' as a basis of the theory. In addition, this study has some theoretical and practical implications, both in terms of the research and analysis of artworks and the structure development of art theories and aesthetics. To conduct the research, I have gone through a literature review on previous studies related to media art and Relational Aesthetics. Then, I have conducted a case study on the media art of TeamLab. This study shows that from the perspective of Relational Aesthetics, media art shows unique characteristics such as borderless and shareability. Moreover, it can allow the audience to actually 'feel' the relationship and integration between various objects. I hopethat this research could be used as a solid basis for future research and helpstrengthen the interaction between modern art and the public.

• Journal of Digital Convergence
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• v.18 no.4
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• pp.439-451
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• 2020

In order to deeply understand the significance of death aesthetics in contemporary art, this research first summarizes the development process of death aesthetics in art works with popular perspectives, and then classifies and discusses death aesthetics in modern art works. The results of this study are as follows: First, the aesthetic expressions of death are divided into two types: death reproducibility and death symbolism. Death reproducibility includes reproducibility of real objects and reproducibility of imaginary objects. The symbolism of death can be divided into external and internal manifestations. Secondly, in contemporary art, the reproducibility of death through the description of death scenes has increased the various problems and philosophical significance caused by death. Third, in contemporary art, the symbolism meaning of death is not just something directly related to death, it also shows the various psychological states brought about by death. Subsequent research will promote the artists' visual expression of the aesthetics of death in artworks, and the profound changes in meaning that result from it.

• Journal of Digital Convergence
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• v.11 no.12
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• pp.777-784
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• 2013

A novel is a conversation between self and the real world. They are not only sensitive act to the real world, but also a pattern of the real through the converse between self and the real world without making the real his own. This analysis on the works of Son and his essence shows that he tried to express his self-denial aesthetics and human-denial aesthetics as well as self-closing aesthetics.

• The Journal of the Korea Contents Association
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• v.20 no.11
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• pp.157-169
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• 2020

Entering the 21st century, the production environment and system of film art were very rapidly implemented from analog to digital. In such a process, the development and change of imaging technology have had a profound effect on the expressive modalities of visual aesthetics. However, in-depth discussions on how the existing analog aesthetic has been implemented into the digital environment are somewhat insufficient. In this study, Iwai Shunji's latest film , which continues to carry out remarkable creative activities across the analog and digital ages, specifically examines what 'Iwai aesthetics' he has pursued since the analog era is revealing in the digital age. Methodically, Iwai Shunji's transition from analog to digital age was examined and his digital film was approached and analyzed from three aesthetic perspectives : 'Light', 'Composition', and 'Space and Point of View'.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.79-94
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• 2005

The goal of this research, contorted from the perspective of media aesthetics, is to uncover the ways how mechanical/cybersensual fashion products express aesthetic characteristics of cybernetics, by comparing them with digital products designed by an application of cybernetics. The other goal is to provide a cultural and design framework of cybernetics as d digital-environmental medium for fashion in which hightech and human sensibilities are fused. The results urged to explore two new contrasting perceptual possibilities for an understanding of digital technology application: negative and positive feedbacks. Cybernetic optimism, centered on technological dimensions, focuses on a concept of fashion that emphasize instrumental aspects-efficiency and convenience. In contrast, cybernetic pessimism focuses on digital fashion that expresses environmental destruction and the loss of human identity. A comparative analysis of the aesthetics of expression in digital fashion design and digital industrial products from a cybernetic perspective showed that in digital environment society, the combination of negative and positive feedbacks resulted in design products in which internal and external aspects of beauty complemented each other.

• The Journal of the Korea Contents Association
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• v.19 no.1
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• pp.117-124
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• 2019

This paper investigates how digital technology innovates the aesthetic ontology of film images. The modern civilization of computer and internet bring about the new ontology of film images. Digital hybrid image expands the contradictory combination of physical reality and filmic fantasy. It is inevitable to recount Walter Benjamin' s concept of mechanical reproduction in the age of digital cinema. The modern condition of image arts changes the concept of mechanical reproduction to the logic of digital configuration. In addition, computer simulation innovates the film aesthetics of montage to the aesthetics of digital collage. The technological and aesthetical development of computer simulation and internet network leads to the new ontology of digital hybrid images. This study suggests a new theoretic point that the aesthetic ontology of digital hybrid images leads to the expansion of filmic fantasy and expression.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.26-43
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• 2010

The inflow of digital technology into the art, especially in the Fashion Illustration since 1990, makes the new aesthetics of the beginning of the 21 century which the Software aesthetics can be called. The meeting of technology and the art make us recall a great scientist and artist, Leonardo da Vinci in the Renaissance that the notion of the art and skill was unified, same as the ancient history. This study is purposed to expand the concept of the art for the broad exchange of the digital technology and art and for the extensive expression method of the modern fashion illustration. Having views on science theory of the beginning of the 20 century, Theory of Relativity which had given a lot of influence in the philosophy, the litterature and the art, as well as all the science, it makes a connection with the history of art in the beginning of the 20 century and the story of the digital art in the beginning of the 21 century. Firstly, the Fauvism and 2D is based on the expression of the glowing and bright color by the Principle of constancy of light velocity. Secondly, the Cubism and 3D is associated with the Special theory of relativity in the cyberspace which the space and the time are totally accorded. Thirdly, the Futurism and 4D is compared with the General theory of relativity which contains the material and the gravity. They are gradually evolved into the Interactive art and the Kinetic art by the digital technology in the profound cyberspace.