ScholarWorks@숙명여자대학교

초록

Aesthetic experience is distinguished from ordinary experience and has aesthetic quality and is the most complete and ideal experience that is an element which becomes the base on which the visitor understand artworks in the exhibition and which gives pleasure to the visitor. Despite the fact that aesthetic experience plays an important part in human experience, researches on aesthetic experience have been minimal in the researches done in the past. So the necessity arises to examine how the visitor actually have aesthetic experience through the exhibition. Accordingly, this research attempted to provide the theoretical and empirical framework in which the visitor’s aesthetic experience can be measured by applying the aesthetic experience structure theory of Csikszentmihalyi and Robinson (1990) and to find the decision factor, which positively affects the visitors’ overall judgement on the exhibition, among the “aesthetic experience” factors (the perceptual dimension, the emotional dimension, the cognitive dimension, and the communicative dimension). Through this, this research aims to raise the visitor’s needs for intellectual culture and at the same time to provide the basic data with which the qualitative part of the museum exhibition can be evaluated. To measure the exhibition visitor’s aesthetic experience and to find the decision factor, which positively affects the visitors’ overall judgement on the exhibition, among the aesthetic experience factors, the questionnaire survey was conducted on the adult visitors who viewed the museum exhibition. The opposite types of exhibitions were chosen according to the classification that uses the education theory of Hein (1998), and two museum exhibitions were chosen as the explanation/interpretation exhibition and the constructivism exhibition. The data were collected by conducting the self-administered questionnaire survey from November 25, 2016 to December 3, 2016, and the collected data were analyzed by conducting descriptive statistics, reliability analysis, validity analysis, correlation analysis, and multiple regression analysis using SPSS 23.0 and AMOS 24.0 statistics programs. The results of the analysis showed that the exhibition visitor’s aesthetic experience had significant effects on the overall judgement on the exhibition and that the similar results were produced in both type of exhibitions. The results of verifying the effects of the detailed dimension, which are the structural factors of aesthetic experience, on the overall judgment on the exhibition showed that the perceptual dimension, the emotional dimension, the cognitive dimension, and the communicative dimension had all significant effects on the overall judgment on the exhibition but there were slight differences in significance probability between these organizations. The detailed dimensions that showed the highest significance probability in didactic/interpretation mode were the perceptual dimension and the cognitive dimension, but in constructive mode, the visitor’s perceptual dimension, the cognitive dimension, and the communicative dimension showed the highest significance levels. In the researches done in the past performed by Boerner, Jobst & Wiemann (2010) on the audiences of performances, the emotional dimension and the cognitive dimension showed high significance levels, and this difference in the research results is interpreted that the sound, the collections, the exhibition design, and diverse things experienced in the exhibition had effects on the visitor’s perceptual dimension. Also, it is considered that the purpose of viewing the exhibition and the family visitor of the exhibition also had effects on the forming of aesthetic experience. This research is the research on the audience, and unlike the existing researches on the museum experience, it is the first research that has the aesthetic experience in the exhibition as the main theme and has significance of the empirical data which confirm that the museum exhibition visitor’s aesthetic experience has significant effects on the overall judgment on the exhibition. Also, it can be utilized as the alternative of the visitor satisfaction survey that has been made up of only the evaluation of the existing aspect of service, and it can provide museum officials and exhibition planners with the direction of the data for the operation and development of the exhibition planning to secure the visitor in the process of establishing museum policies. It is expected that, if the measurement tool is elaborated to fit the characteristics of diverse museum exhibitions along with the analysis that is performed in consideration of the factors such as the purpose and behavior of the visitor’s viewing the exhibition, this research on the aesthetic experience of the museum exhibition and the visitors’ overall judgment on the exhibition can be further expanded and become more in-depth research.

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