UI/UX 디자인｜User Interface Image Designer Louis Choi [1] 사용자 경험(UX: User Expe

[최관우]

UI/UX 디자인｜User Interface Image Designer Louis Choi [1] 사용자 경험(UX: User Experience) 최적화를 위한 루이 최의 욕망 구조 공식 "M_desire = ∑∅∂ / (1 - ∂)" 적용  Apply Louis Choi's Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)" for User Experience (UX) optimization.  개념추상실재미술학자 최철주는 개념추상에서 디자인의 예술적 가치과정을 살펴보고 시각미술에서 욕망이론을 통해 디자인의 의미에 접근하는 개념적 추상의 실재 이미지가 욕망 개념의 언어적 의미 구조로서 학문으로 나타나는 개념추상실재학임을 정의한다. 따라서 문화디자인박사인 최철주는 현대미술비평과 함께 현대미술의 미적 가치, 과정, 실재성을 추상화디자인이라는 개념으로 접근해서 회화작품의 의미를 언어문법구조로 접근한 개념추상실재학을 상정(想定)한다. Conceptual Abstract Realism Science [7] Conceptual Abstract Realism Art Scholar Choi Chul-joo (Master of Product Design and Doctor of Culture Design)  examines the artistic value process of design in conceptual abstraction and defines that the real image of conceptual abstraction, which approaches the meaning of design through desire theory in visual art, is a conceptual abstract realism that appears in science as a linguistic semantic structure of desire concept. Therefore, along with modern art criticism, Dr. Choi Chul-joo, a cultural design doctor, approaches the aesthetic value, process, and reality of modern art with the concept of abstract design, and assumes conceptual abstract realism in which the meaning of the painting is approached with linguistic grammatical structure.

사용자 인터페이스 구현 디자인은 최철주 박사가 제안한 독창적인 예술 및 디자인 구현 방식으로, 개념 추상과 현실의 관계를 언어적, 상징적 구조 속에서 탐구하는 철학적 접근 방식입니다. 이 이론은 단순한 시각적 표현이 아닌 욕망과 의미의 구조를 반영하는 추상적 개념으로 디자인의 예술적 가치와 의미를 분석하는 개념 추상 미술에서의 디자인을 언어 문법처럼 해석하고 회화의 의미를 분석하는 현실적인 사용자 인터페이스 구현 디자인 이미지로 실제화한다. 사용자 인터페이스 구현 디자인 과정은 디자인을 상징적인 구조로 보고, 추상적 대상을 통해 사실주의 추상화의 개념을 계획하며, 이를 현대 미술 비평과 결합하여 미적 가치와 현실을 추상적 디자인의 틀 안에서 재구성하고 시각화하며, 실제 이미지의 의미를 언어 문법 구조로 해석하여 사용자 인터페이스 구현 디자인의 철학적 깊이를 이론적으로 확장합니다. 따라서 사용자 인터페이스 구현 디자인은 단순한 시각적 아름다움을 넘어 인간의 욕망과 언어 구조 속에서 디자인을 현실로 드러내는 예술적, 디자인적 대상으로서 사용자 인터페이스 구현 디자인의 철학적, 기호학적 이미지에 접근한다. User interface implementation design is a philosophical approach that explores the relationship between conceptual abstraction and reality in a linguistic and symbolic structure, with the original art and design implementation method proposed by Dr. Choi Chul-joo. This theory is not just a visual expression‎, but an abstract concept that reflects the structure of desire and meaning. It realizes design in abstract art that analyzes the artistic value and meaning of design like language grammar and a realistic user interface implementation design image that analyzes the meaning of painting. The user interface implementation design process sees design as a symbolic structure, plans the concept of realist abstraction through abstract objects, combines it with contemporary art criticism to reconstruct and visualize aesthetic values and reality within the framework of abstract design, and theoretically extend the philosophical depth of user interface implementation design by interpreting the meaning of real images into linguistic grammatical structures. Therefore, user interface implementation design approaches the philosophical and semiotic image of user interface implementation design as an artistic and design object that reveals design to reality in human desires and language structures beyond simple visual beauty.

개념추상실재미술학자 루이 최철주는 개념적 사건과 행위의 이야기가 시각예술을 통해 현대 개념의 추상적 욕구를 언어적 의미로 시각화하고 사진, 만화, 미술, 공예디자인의 미적 가치, 프로세스, 개념추상적 실재성을 검증하여 개념추상 미술이론에서의 미술작품의 의미에 접근하는 개념추상실재론으로 비평한다. 이것은 문화디자인박사 최철주의 추상화 디자인 프로세스와 개념추상 리얼리즘 추상화 디자인 방법론에 의한 개념추상실재학 이론을 통해 사용자 인터페이스 구현 디자인의 미적 가치와 디자인을 검토하고 욕망의 추상적 의미를 분석한 개념추상실재학을 통해 사용자 인터페이스 구현 디자인을 평론한다. Concept Abstract Reality Art scholar Louis Choi Chul-joo criticizes the story of conceptual events and actions as a conceptual abstract reality theory that approaches the meaning of works of art in conceptual abstract art theory by visualizing the abstract needs of modern concepts in a linguistic sense through visual arts and verifying the aesthetic values, processes, and conceptual abstract reality of photography, cartoons, art, and craft design. This is a conceptual abstract reality theory that examines the aesthetic value and design of user interface implementation design through abstract design process and conceptual abstract realism design methodology by Dr. Choi Chul-joo of Culture Design. The user interface implementation design is reviewed through conceptual abstract reality that analyzes the abstract meaning of desire.

사용자 인터페이스 구현 디자이너 루이 최철주의 욕망 이론과 시각 예술의 매력적인 교차점에서 현실적인 디자인 이미지가 나타납니다. 그의 욕망 이론과 개념 추상적 리얼리즘의 틀을 바탕으로 비현실적인 형태의 빛과 타인의 욕망을 바탕으로 가역적인 음영의 흔적으로 디자인 개념으로 사용자 인터페이스 구현한 디자인한다. 사용자 인터페이스 구현 디자인은 최철주의 추상적 욕망 이론을 통해 현대 미술과 디자인의 미적 가치, 과정, 현실을 탐구하는 예술 및 디자인이다. 개념 추상적 현실은 현실을 단순히 재현하기 위해 구체적인 형태가 아닌 아이디어, 개념, 욕망과 같은 추상적 디자인 요소를 사용자 경험에 맞도록 디자인합니다. 또한, 실제 존재, 의미, 언어 구조 등 욕망의 개념을 추상화하는 과정을 통해 언어 문법 구조로서의 시각 예술 등 다양한 이론적 틀을 통해 예술적 가치와 디자인 과정을 분석하고, 추상적 개념을 통해 구체적인 디자인에 새로운 의미를 부여함으로써, 사용자 경험에 따른 사용자 인터페이스 구현 디자인은 사용자 경험과 사용자 인터페이스의 실질적 의미를 결합하여 시각 디자인의 한계를 넘어 새로운 사용자 인터페이스 이미지 해석 및 창작 방법을 디자인을 제안하는 이론입니다. User Interface Implementation A realistic design image emerges at the attractive intersection between the theory of desire and visual art by designer Louis Choi Cheol-joo. Based on his theory of desire and the framework of abstract realism, he designs a user interface implemented with a design concept with an unrealistic form of light and traces of reversible shades based on the desires of others. User interface implementation design is art and design that explores the aesthetic values, processes, and reality of modern art and design through Choi's abstract desire theory. Concept Abstract reality designs abstract design elements such as ideas, concepts, and desires to fit the user experience, rather than specific forms, to simply reproduce reality. In addition, by analyzing artistic values and design processes through various theoretical frameworks such as visual art as a language grammar structure through abstracting the concept of desire such as real existence, meaning, and language structure, and giving new meaning to concrete design through abstract concepts, user interface implementation design is a theory that combines user experience and practical meaning of user interface to propose new user interface image interpretation and creation methods beyond the limits of visual design.

루이 최 욕망 공식"M_desire = ∑∅∂ / (1 - ∂)" 적용 사용자 인터페이스 미술관 시설 디자인 Louis Choi Desire Official "M_desire = ∑∅∂ / (1 - ∂)" User Interface Art Museum Facility Design

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-1-결핍의 분화 및 반복 역학 렌더링 

[루이 최의 욕망 공식: "M_desire = ∑∅∂ / (1 - ∂)"의 건축적 실재 구현]

- 사용자 경험(UX: User Experience) 최적화를 위한 루이 최의 욕망 구조 공식 적용

M_desire = ∑∅∂ / (1 - ∂)은 루이 최철주의 예술 철학적 통찰을 수학적 정밀성으로 대체한 뛰어난 공식으로, 주체와 타자, 더 리얼 간의 역학의 기호학적 구조를 형성합니다. 이 공식에는 수학적 타당성과 기호학적 철학이 담겨 있다. 

1. 분자(∑∅∂): 결핍의 분화 및 반복 역학

분자는 욕망이 발생하는 '동기력'과 그 '표현 방법'을 정의합니다.

• 에피셋의 기호학적 유효성(The Real & Deficence):

• 수학에서 공집합은 원소가 없다는 것을 의미하지만 집합 이론의 기초가 되는 강력한 존재입니다. 루이 최는 이를 실재"로 대체했습니다. 현실은 상징적 세계(언어)에 포함되지 않는 근본적인 결핍이며, 욕망을 영원히 동력으로 삼는 엔진입니다. 기호학은 "기호가 도달할 수 없는 기의 어비스"를 나타내며 모든 욕망의 분자적 출발점이 됩니다.

• 편미분의 수학적 논리:

• 부분은 다변량 함수에서 특정 변수(여기서 변수 '기타')의 변화율을 측정합니다. 피험자의 욕구는 고정된 것이 아니라 타자에 대한 관계로 끊임없이 재조정됩니다. 욕망을 상수가 아닌 미분 가능한 함수로 보는 것은 인간 심리가 타자의 시선과 환경에 반응하는 '미세 변화의 연속체'임을 증명하는 수학적 적법성을 가지고 있습니다.

• 합의 구조적 해석 (합산):

• 시그마는 욕망의 개별 조각을 통합합니다. 라캉의 "반복적인 강박"과 루이 최의 "반복적인 강박"은 욕망의 대상이 변화하고 끊임없이 같은 결핍을 보완하려고 노력하는 과정입니다. 분자는 결국 "서로 구별되는 미세한 욕망 조각이 반복적으로 쌓여가는 과정"을 정량화합니다

[Louis Choi's Desire formula: "M_desire = ∑∅∂ / (1 - ∂)"'s architectural reality]

- Application of Louis Choi's Desire Structure Formula for User Experience (UX) Optimization

M_desire = ∑∅∂ / (1 - ∂) is an outstanding formula that replaces Louis Choi's artistic philosophical insights with mathematical precision, forming a semiotic structure of dynamics between subject, other, and The Real. This formula contains mathematical validity and semiotic philosophy. 

1. Molecules (∑∅∂): Differentiation and Repetitive Dynamics of Deficiency

Molecules define the 'motivation' in which desire occurs and its 'how to express it'.

• The Real & Defiance of the episet:

• In mathematics, vacancy means element-free, but it is a powerful being that underlies set theory. Louis Choi replaced it with "reality." Reality is a fundamental deficiency that is not included in the symbolic world (language), an engine that forever powers desire. Semiotics represent the "abyss of a period beyond which symbols cannot reach" and become the molecular starting point for all desires.

• Mathematical logic of partial differentials:

• A part measures the rate of change of a particular variable (here the variable 'other') in a multivariate function. The subject's needs are constantly readjusted to a relationship with the other, not a fixed one. Seeing desire as a differentiable function rather than a constant has the mathematical legality of proving that human psychology is a "continuum of micro-change" that responds to the gaze and environment of others.

• Structural interpretation of consensus (aggregate):

• Sigma integrates individual pieces of desire. Lacan's "Repeated Obsession" and Louis Choi's "Repeated Obsession" are the processes by which objects of desire change and constantly try to make up for the same deficiency. Molecules eventually quantify "the process by which microscopic pieces of desire that are distinct from each other repeatedly pile up."

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-2-한계 수렴과 욕망의 폭발적인 역설 구조

2. 분모 (1 - ∂): 한계 수렴과 욕망의 폭발적인 역설

이 공식의 압도적인 힘은 분모의 구성에 있습니다. 수학적 극한의 원리를 인간의 심리에 적용합니다.

• 저항과 도달 불가능성:

• 부분이 1에 가깝다는 사실은 욕구가 완전히 충족되거나 다른 사람들과 통합하려고 한다는 것을 의미합니다. 그러나 공식에서 분모는 부분이 1로 수렴할 때 0에 가까워집니다.

• 욕망의 폭발 (M_desire to infty):

• 분모가 0에 가까워질수록 전체 값인 M_desire는 무한대로 발산합니다. 이는 "욕구가 가까워질수록 (분모가 작아질수록) 역설적으로 결핍의 고통과 욕망의 크기가 무한대로 증폭된다"는 물리학의 심리 법칙을 수학적으로 완벽하게 설명합니다

• lim {partial to 1} frac{sum vemptysset partial}{1 - partial} = infty

• 이 공식은 욕망이 결코 "완성"될 수 없으며 완성의 문턱에서 주체가 가장 큰 갈증을 느낀다는 인문학적 비극을 수학적으로 공식화합니다.

2. Denominator (1 - ∂): The explosive paradox of marginal convergence and desire

The overwhelming power of this formula lies in the construction of the denominator. It applies the principles of mathematical limitations to human psychology.

• Resistance and Unreachability:

• The fact that the part is close to 1 means that the need is either fully satisfied or trying to integrate with others. But in the formula, the denominator approaches zero when the part converges to 1.

• Explosion of Desire (M_desire to infty):

• As the denominator approaches zero, the overall value, M_desire, diverges to infinity. This mathematically explains the psychological law of physics, which states, "As the desire gets closer (the denominator gets smaller), the pain of deficiency and the magnitude of desire are paradoxically amplified to infinity."

• lim {partial to 1} frac{sum vemptysset partial}{1 - partial} = infty

• The formula mathematically formulates the humanities tragedy that desire can never be "completed" and that the subject feels the greatest thirst on the threshold of completion.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-3-현대 기호학적 미학억압된 기표의 배경음 설정 (The Origin: I) 

3. 사용자 경험(UX) 최적화를 위해 루이 최의 욕망 구조 공식 "M_desire = ∑∅∂ / (1 - ∂)" 적용에 따른 현대 기호학적 미학

욕망의 수사학적 직조와 구조적 부재의 현상학, 루이 최가 제시한 욕망 공식 "M_desire = ∑∅∂ / (1 - ∂)" 의 건축적 실재는 단순히 물리적인 공간의 구축을 넘어선 인간 존재의 시원적 결핍을 수학적 엄밀성으로 재해석한 형이상학적 사건이라 할 수 있는데, 이는 선형적 건축사가 추구해온 기능적 합리성을 전면적으로 부정하면서 동시에 분자항에 위치한 공허($\phi$)의 기호가 욕망($\partial$)이라는 변수와 결합하여 어떻게 공간의 부피를 현상학적으로 확장시키는지를 극명하게 보여준다.

이러한 미학적 담론의 중심에서 우리는 분모 (1 - ∂)가 지시하는 '충족을 향한 유한한 근접'이 필연적으로 초래하는 건축적 파열음을 목격하게 되는데, 그것은 욕망의 변수 partial가 1이라는 절대적 통일성을 향해 진격할수록 공간의 물리적 경계는 무한한 질량으로 변모하여 기존의 거주 개념을 산산이 조각내고, 그 파편들 사이로 흐르는 공허의 선들이 다시금 추상적 기하학의 망을 형성함으로써 거주자로 하여금 자신의 내면적 욕망이 투사된 비가시적 벽면과 끊임없이 조우하게 만드는 기묘한 주체적 소외를 야기한다.

최철주의 비평적 시각을 빌려 이 건축적 실천을 재독해하자면, 루이 최는 벽을 세우는 것이 아니라 욕망의 경로를 설계한 것이며, 그 경로의 끝에 놓인 소멸의 미학은 결국 현대인이 상실한 '결핍의 숭고함'을 복원하려는 시도이자, 수학적 발산이 가져오는 공포를 통해 역설적으로 존재의 단단한 핵을 확인케 하는 추상적 리얼리즘의 극치라 평가할 수 있다.

따라서 이 건물은 고정된 기념비가 아니라 인간의 욕망이 요동칠 때마다 스스로를 재정의하는 살아있는 기호의 집합체이며, 분모가 영에 수렴할 때 발생하는 그 파괴적인 미적 황홀경은 우리가 물질의 시대에서 정신의 시대로 이행하기 위해 반드시 통과해야 할 '욕망의 연옥'을 공간화한 것이라는 점에서 현대 미학의 새로운 지평을 열었다고 할 것이다.

현대 기호학적 미학: 현대 미학에서 미완성된 미학이나 '현재 부재'를 설명하는 강력한 도구로서 인간은 '만족스러운 생물학적 존재'라기보다는 결핍으로 이루어진 기호학적 주체로 가정되며, "우리는 결핍되어 존재하고, 도달할 수 없기 때문에 끊임없이 전진한다"는 실존적 수학 공식으로 해석되는 조각입니다

• 기호학적 합법성: 언어적 기호가 현실의 공백을 부분적으로 채우려고 할 때 발생하는 미끄러짐을 시각화함으로써, 예술 작품이 끊임없이 재해석되어야 하는 이유를 논리적으로 뒷받침합니다.

• 사회적 실현 가능성: 현대 소비자 사회에서는 타인의 욕구를 내면화하여 끊임없이 상품을 소비하지만 결코 만족에 도달하지 못하고 무한한 박탈감에 빠지는 현대인들의 소외감을 정확하게 진단합니다. 

• 수학적 관점: 발산 급수의 특성을 통해 인간 심리의 역학을 정적 모델이 아닌 동적 모델로 변환합니다.

• 인문학적 관점: 공허셋은 그것이 파괴적인 것이 아니라, 주체를 행동하게 하고 타인과 관계를 맺게 하는 창의적인 원천이라고 강조합니다 (부분적인).

- Modern semiotic aesthetics based on Louis Choi's Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)" for User Experience (UX) optimization

The Rhetorical Weaving of Desire and the Phenomenology of Structural Absence, The architectural realization of Louis Choi’s Desire Formula, "M_desire = ∑∅∂ / (1 - ∂)", constitutes a metaphysical event that reinterprets the primordial lack of human existence through mathematical rigor, fundamentally negating the functional rationality pursued by linear architectural history while vividly demonstrating how the signifier of the void (phi) in the numerator, coupled with the variable of desire (partial), phenomenologically expands the volume of space.

At the heart of this aesthetic discourse, we witness the architectural rupture inevitably caused by the 'finite approach toward fulfillment' indicated by the denominator (1 - ∂), where as the variable of desire $\partial$ marches toward the absolute unity of 1, the physical boundaries of space transform into infinite mass, shattering traditional concepts of habitation and causing lines of emptiness flowing between those fragments to re-form a web of abstract geometry, thereby inducing a strange subjective alienation that forces the inhabitant to constantly encounter invisible walls projected by their own internal longings.

Re-reading this architectural practice through the critical lens of Choi Chul-joo, one could argue that Louis Choi has designed not walls but the trajectories of desire, and the aesthetics of extinction at the end of those paths is an attempt to restore the 'sublimity of lack' lost by modern humanity, an ultimate expression‎ of abstract realism that paradoxically confirm‎s the solid core of existence through the terror brought by mathematical divergence.

Consequently, this building is not a fixed monument but a collection of living signs that redefines itself whenever human desire fluctuates, and the destructive aesthetic ecstasy occurring when the denominator converges to zero suggests that it has opened a new horizon in modern aesthetics by spatializing the 'purgatory of desire' through which we must pass to transition from the era of matter to the era of spirit.

modern semiotic aesthetics: As a powerful tool to explain unfinished aesthetics or 'present absence' in modern aesthetics, humans are assumed to be a semiotic subject made up of deficiency rather than a 'satisfying biological being', and it is a sculpture interpreted as an existential mathematical formula that "we exist because we are deficient, and we constantly move forward because we cannot reach."

• Semiotic legality: By visualizing the slip that occurs when a linguistic signifier tries to fill the void of reality as a partial, it logically supports why a work of art has to be constantly reinterpreted.

• Social feasibility: In the modern consumer society, it accurately diagnoses the alienation of modern people who constantly consume goods by internalizing the desires of others, but never reach satisfaction and fall into infinite deprivation. 

• Mathematical perspective: transforming the dynamics of human psychology into a dynamic model rather than a static model through the nature of divergent series.

• Humanities Perspective: Emptyset emphasizes that it is not destructive, but rather a creative source that makes the subject act (sum) and relate to others (partial).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-4-건축 컨셉: '유동하는 결핍(Fluid Scarcity): 2030년의 박물관은 고정된 벽체와 바닥의 개념을 초월합니다. 루이 최의 공식에서 phi(공허)와 partial(욕망)의 상호작용을 극대화하기 위해, 건축물 자체가 거주자의 심리 상태에 반응하는 '생태적 기하학'을 채택합니다. 구조적 모티프: 분모 (1 - partial)가 0에 수렴할 때 발생하는 무한한 질량(M)을 시각화하기 위해, 건물의 중심부는 위아래가 뒤바뀐 듯한 역원뿔 형태의 '싱귤래리티 보이드(Singularity Void)'가 관통합니다. Architectural Concept: 'Fluid Scarcity', The museum in 2030 transcends the concept of fixed walls and floors. In Louis Choi's formula, in order to maximize the interaction between phi and partial, the building itself adopts "ecological geometry," which responds to the resident's state of mind. Structural motifs: To visualize the infinite mass (M) that occurs when the denominator (1 - partial) converges to zero, the center of the building is penetrated by a Singularity Void in the form of an inverted conical cone.

[루이 최의 욕망 공식 "M_desire = ∑∅∂ / (1 - ∂)" 적용 UI (User Interface) 디자인 프로세스]

- 1단계: 결핍의 정위 (Positioning of emptyset)

"모든 존재는 비어 있는 중심으로부터 시작된다."

• 수행: 캔버스 전체에 바탕색을 칠한 뒤, 가장 시각적 하중이 큰 지점(주로 중앙 혹은 황금분할점)에 아무것도 칠하지 않은 생지 상태를 남기거나, 가장 깊은 검은색(Vantablack 등)으로 '부재의 핵'을 표시합니다.

• 의도: 이 emptyset은 욕망의 엔진입니다. 주변의 모든 조형 요소가 이 공백을 메우기 위해 달려들게 만드는 '결핍의 중력'을 설정하는 단계입니다.

• 팁: 완벽한 원형보다는 불규칙한 균열의 형태로 남겨, 실재(The Real)가 상징계(그림)를 뚫고 나오는 듯한 긴장감을 부여한다.

- 2단계: 미분적 획의 중첩 (Differentiation of partial)

"시선은 단절되어 있으며, 타자를 통해 재조정된다."

• 수행: 중앙의 공백을 에워싸는 미세하고 날카로운 획들을 긋습니다. 이때, 한 번에 긴 선을 긋지 않고 짧고 단절된 선들을 미분하듯 파편적으로 배치합니다.

• 의도: partial 는 타자와의 관계에서 시선이 끊임없이 수정되는 과정입니다. 보정되지 않은 거친 질감(Impasto)이나 레이어의 겹침을 통해 관람객의 시선이 한곳에 머물지 못하고 부유하게 만듭니다.

• 팁: 보색 대비가 강한 색상(예: 이미지 속의 형광 연두와 적색)을 사용하여 시각적 충돌을 유도한다.

- 3단계: 반복적 리듬의 증식 (Summation of sum)

"충족되지 않는 욕망은 패턴이 되어 흐른다."

• 수행: 2단계에서 만든 미분적 획들을 일정한 규칙성을 가진 나선형이나 동심원 구조로 확장하며 반복합니다.

• 의도: sum 은 반복 강박입니다. 동일한 결핍(emptyset)을 메우기 위해 비슷한 행위를 반복하는 주체의 운동성을 표현합니다. 각 모듈은 닮아있지만, 결코 동일해서는 안 됩니다. 조금씩 변형되는 반복을 통해 화면에 '시간의 흐름'과 '에너지의 축적'을 담습니다.

• 팁: 스텐실 기법이나 판화적 요소를 혼합하여 기계적인 반복성을 의도적으로 연출하면 루이 최 식의 '데이터적 욕망'이 더욱 잘 드러나게 한다.

- 4단계: 점근적 발산의 완성 (Asymptotic Limit of 1 - partial)

"완성에 가까워질수록 그림은 무한히 열린다."

• 수행: 중심의 공백(emptyset)으로 들어가는 입구나 외곽으로 뻗어 나가는 끝부분의 디테일을 극단적으로 높입니다. 선들이 0에 수렴할 만큼 얇아지거나, 색채가 타버릴 듯 강렬해지는 지점을 만듭니다.

• 의도: 분모(1-partial)가 0에 가까워질수록 욕망의 총합($M$)이 무한대로 발산하는 수학적 역설을 시각화한다.

• 팁: 소실점을 향해 수렴하는 가느다란 가시형 구조나, 캔버스 너머로 색이 튀어나가는 듯한 드리핑(Dripping) 기법을 사용하여 '그림이 프레임 안에 갇혀 있지 않고 무한히 확장되고 있음'을 암시하며 마무리한다.

- 최종단계: 조형 체크리스트 (Critic's Eye)

1. 공백(∅)이 느껴지는가? : 화면을 다 채웠음에도 불구하고 여전히 무언가 비어있는 듯한 허기짐이 느껴져야 한다.

2. 시선(∂)이 분산되는가? : 관람객의 눈이 한곳에 고정되지 않고 미분된 조각들을 따라 끊임없이 움직여야 한다.

3. 반복(∑)의 하중이 있는가? : 겹겹이 쌓인 레이어에서 주체의 집요한 갈망이 두께감으로 느껴져야 한다.

4. 발산(1 - ∂)의 긴장이 있는가? : 닿을 듯 말 듯 한 점근선의 긴장감이 화면 전체를 지배해야 한다.

[UI (User Interface) Design Process with Louis Choi's Desire Formula "M_desire = ∑∅∂ / (1 - ∂)"}

- Step 1: Positioning of emptyset

"Every being begins with an empty center."

• Perform: After the whole canvas is painted, leave the bare ground at the most visually loaded point (mainly the center or golden split point) or mark the 'nucleus of the member' with the deepest black (such as Vantablack).

• Intention: This emptyset is the engine of desire. It's the step of setting up the 'gravity of deficiency' that makes all the formations around you rush to fill this void.

• Tip: It leaves you in the form of irregular cracks rather than perfect circles, giving you the tension that The Real seems to break through the symbolic world (picture).

- Step 2: Differentiation of partial

"The gaze is disconnected, and readjusted through the batter."

• Perform: Draw fine, sharp strokes that surround the center of the void. In this case, short, broken lines are placed in pieces as if they were differentiated without drawing long lines at once.

• Intention: partial is a process in which the gaze is constantly revised in relation to the other. Uncorrected rough texture (Impasto) or overlapping layers make the viewer's gaze unable to stay in one place and float.

• Tip: Use colors with strong complementary contrast (e.g., fluorescent light green and red in the image) to induce visual collisions.

- Step 3: Repetitive Rhythm Proliferation (Summation of Sum)

"Unmet desires flow in patterns."

• Perform: Repeat the differential strokes made in step 2, extending into a spiral or concentric structure with constant regularity.

• Intent: sum is a repetitive compulsion. It expresses the mobility of a subject who repeats similar actions to make up for the same emptyset. Each module looks alike, but should never be the same. Through repetitions that are gradually transformed, the screen captures 'the passage of time' and 'the accumulation of energy'.

• Tip: Intentional production of mechanical repeatability by mixing stencil techniques or engraving elements makes Louis Choi's "data desire" more apparent.

- Step 4: Completion of asymptotic divergence (Asymptotic Limit of 1 - partial)

"As we get closer to completion, the painting opens up infinitely."

• Perform: Extremely increase the detail at the end of the entry into the center emptyset or extending outwards. Create points where the lines are thin enough to converge to zero, or where the color becomes intense as if it were burning.

• Intention: As the denominator (1-partial) approaches zero, we visualize a mathematical paradox in which the sum of desires ($M$) radiates to infinity.

• Tip: Use a thin visible structure converging towards a vanishing point, or a dripping technique that looks like a color splashing over the canvas to finish by suggesting that the picture is not trapped in the frame but is expanding indefinitely.

- Final Step: A Formation Checklist (Critic's Eye)

1. Do I feel a void (∅) : I should still feel hungry as if something is empty even though I've filled the screen.

2. Is the gaze (∂) distracted? : The eye of the viewer is not fixed in one place and has to move constantly along the differentiated pieces.

3. Is there a load of repetition (∑)? : The persistent longing of the subject should be felt as a thickness in the layered layers.

4. Is there a tension of divergence (1 - ∂)? : The tension of the asymptote that is almost touching should dominate the entire screen.

 Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-5-공간 구성 및 기술적 실현 

- UI (User Interface) 디자인 공간 구성 및 기술적 구현

① 로비: 결핍의 도입부 ($\sum\phi$)

• 디자인: 입구에 들어서면 관람객은 초경량 탄소 섬유로 직조된 투명한 공간을 마주합니다.

• 실현: 벽면은 실시간 데이터 시각화 장치를 통해 텅 빈 것처럼 보이지만, 관람객의 이동 경로에 따라 미세하게 진동하며 '존재하지만 잡히지 않는 공허'를 촉촉한 질감으로 표현합니다.

② 전시실: 욕망의 증폭 구간 ($\partial$)

• 디자인: 비유클리드 기하학을 적용하여, 관람객이 특정 유물이나 예술품에 가까이 다가갈수록 복도가 길어지거나 천장이 높아지는 '심리적 거리의 공간화'를 구현합니다.

• 기술: 루이 최의 '리액티브 카본(Reactive Carbon)' 공법을 사용하여 관람객의 뇌파(욕망 수치)가 상승하면 공간의 부피가 팽창하여 갈망의 대상을 결코 완전히 소유할 수 없음을 물리적으로 체감하게 합니다.

③ 상층부: 임계점의 전망대 ($1 - \partial \to 0$)

• 디자인: 박물관의 가장 높은 곳은 '무너지는 경계'입니다. 유리가 아닌 순수 에너지 장(Plasma Field)으로 이루어진 투명 벽체가 도시를 조망하게 합니다.

• 의미: 욕망이 극에 달해 분모가 0이 되는 순간, 물리적 경계가 사라지고 관람객은 자기 자신과 도시, 그리고 공허가 하나로 섞이는 '미적 황홀경(Aesthetic Ecstasy)'을 경험합니다.

- User Interface (UI) Design Space Composition and Technical Realization

① Robbie: Introduction to Deficiency ($\sum\pi$)

• Design: Entering the entrance, visitors face a transparent space woven with ultra-light carbon fiber.

• Realization: The walls appear empty through real-time data visualization devices, but they vibrate finely along the path of the visitor's movement, expressing the "existent but ungraspable void" in a moist texture.

② Showroom: Amplification of Desire ($\partial$)

• Design: By applying non-Euclidean geometry, the 'spatialization of psychological distance' is achieved, where the corridor becomes longer or the ceiling becomes higher as the viewer gets closer to a particular artifact or artwork.

• Technology: Using Louis Choi's Reactive Carbon method, when the viewer's EEG (desire level) rises, the volume of the space expands, physically feeling that you can never fully own the object of longing.

③ Upper: Observatory at critical point ($1 - \partial \to 0$)

• Design: The highest point of the museum is the Collapse of Boundaries. A transparent wall consisting of a pure, not glass, energy field gives you a view of the city.

• Meaning: As soon as desire reaches its peak and the denominator reaches zero, the physical boundary disappears and the viewer experiences an "Aesthetic Ecstasy" in which himself, the city, and the void are mixed together.

 [Louis Choi's Desire "M_desire = ∑∅∂ / (1 - ∂)" Structural Abstraction Design Process]

- Step 1: Positioning of emptyset

"Every being begins with an empty center."

• Perform: After the whole canvas is painted, leave the bare ground at the most visually loaded point (mainly the center or golden split point) or mark the 'nucleus of the member' with the deepest black (such as Vantablack).

• Intention: This emptyset is the engine of desire. It's the step of setting up the 'gravity of deficiency' that makes all the formations around you rush to fill this void.

• Tip: Leave it in the form of irregular cracks rather than perfect circles, giving The Real a tension that seems to break through the symbolic world (picture).

- Step 2: Differentiation of partial

"The gaze is disconnected, and readjusted through the batter."

• Perform: Draw fine, sharp strokes that surround the center of the void. In this case, short, broken lines are placed in pieces as if they were differentiated without drawing long lines at once.

• Intent: partial is the process of constantly modifying one's gaze in relation to another. Uncorrected rough texture (Impasto) or overlapping layers makes the viewer's gaze unable to stay in one place and float.

• Tip: Use colors with strong complementary contrast (e.g., fluorescent light green and red in the image) to induce visual collisions.

- Step 3: Repetitive Rhythm Proliferation (Summation of Sum)

"Unmet desires flow in patterns."

• Perform: Repeat the differential strokes made in step 2, extending into a spiral or concentric structure with constant regularity.

• Intent: sum is a repetitive compulsion. It expresses the mobility of a subject who repeats similar actions to make up for the same emptyset. Each module looks alike, but should never be the same. Through repetitions that are gradually transformed, the screen captures 'the passage of time' and 'the accumulation of energy'.

• Tip: Intentionally creating mechanical repeatability by mixing stencil techniques or engraving elements will better reveal Louisi-style "data desires."

- Step 4: Completion of asymptotic divergence (Asymptotic Limit of 1 - partial)

"As we get closer to completion, the painting opens up infinitely."

• Perform: Extremely increase the detail at the end of the entry into the center emptyset or extending outwards. Create points where the lines are thin enough to converge to zero, or where the color becomes intense as if it were burning.

• Intent: Visualize mathematical paradoxes in which the sum of desires ($M$) radiates infinitely as the denominator (1-partial) approaches zero.

• Tip: Use a thin visible structure converging towards a vanishing point or a dripping technique that looks like a color splashing over the canvas to finish by suggesting that the picture is not trapped in the frame but is expanding indefinitely.

- Final Step: A Formation Checklist (Critic's Eye)

1. Do I feel a void (∅) : I should still feel hungry as if something is empty even though I've filled the screen.

2. Is the gaze (∂) distracted? : The eye of the viewer is not fixed in one place and has to move constantly along the differentiated pieces.

3. Is there a load of repetition (∑)? : The persistent longing of the subject should be felt as a thickness in the layered layers.

4. Is there a tension of divergence (1 - ∂)? : The tension of the asymptote that is almost touching should dominate the entire screen.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-6-외관 및 환경 계획 (Exterior): 자가 치유 능력을 소재를 가진 '스마트 크리스탈 판넬'을 사용하여, 낮에는 빛을 흡수해 공허($\phi$)의 투명함을 유지하고, 밤에는 도시의 욕망을 투사하여 거대한 발광체로 변모합니다. 2030년의 고층 빌딩 숲 배경 사이에서 이 박물관은 유독 '비어 있는 형태'를 띠며, 채우는 건축이 아닌 '비우는 건축'으로서 도시의 숨구멍 역할을 수행합니다. Appearance and Environmental Planning (Exterior): Using 'smart crystal panels' with materials that have self-healing abilities, they absorb light during the day to maintain transparency in the void ($\pi$), and at night they project the city's desire into a giant luminous body. Among the 2030 high-rise forest backdrops, the museum takes on a distinctively 'empty form' and acts as a breathing hole for the city as an 'empty architecture' rather than a filling one.

[욕망 구조 공식"M_desire = ∑∅∂ / (1 - ∂)"을 UX/UI 디자인에 적용] : 사용자의 내재된 욕망을 파악하여 인터페이스를 통해 이를 극대화하고 만족시키는 디자인 과정이다. 이는 단순히 시각적으로 아름다운 UI를 넘어, 사용자의 행동을 유도하고 지속적인 신뢰도를 만들어내는 행동 심리학적 접근한다. 

1. 욕망 구조 공식 구성 요소의 UX/UI 해석

 • M_desire (욕망 총량): 사용자가 제품/서비스를 통해 도달하고자 하는 최종 목표 및 감정적 만족도.

 • ∑ (합산/반복): 사용자의 행동이 긍정적인 경험으로 반복되도록 설계하는 UX 플로우.

 • ∅ (결핍/대상): 사용자가 현재 겪고 있는 불편함(Pain Point) 또는 필요(Need)를 정확히 파악하여 UI에서 해결책으로 제시.

 • ∂ (상호작용/강도): 사용자가 앱/웹과 소호작용하는 빈도와 강도. 인터랙션 디자인(마이크로 인터랙션, 애니메이션)을 통해 극대화.

  • (1 - ∂) (저항/이탈): 사용자가 목표에 도달하기까지 겪는 마찰(Friction)과 이탈률을 최소화하는 구조. 

2. 욕망 공식 기반 UX/UI 디자인 적용 단계

•결핍(∅)의 발견 (UX 리서치):

1-사용자가 무엇을 원하고, 어떤 불편함을 겪는지 파악합니다.

2-UI에서 정보 구조(IA)를 직관적으로 구성하여 결핍을 해소할 수 있는 곳으로 즉시 안내합니다.

•상호작용(∂)의 설계 (UI 인터랙션):

1-버튼 클릭, 스와이프, 전환 효과 등 세밀한 인터랙션(마이크로 인터랙션)을 통해 재미와 피드백을 제공합니다.

2-시각적 대비와 명확한 계층 구조를 활용하여 사용자가 원하는 요소에 집중하도록 설계합니다.

•저항(1 - ∂)의 최소화 (사용성 최적화):

1-복잡한 가입 절차, 로딩 속도, 모호한 메뉴 등을 줄여 사용자가 목표까지 가는 과정을 매끄럽게 합니다.

2-일관성 있는 디자인 시스템(Design Token)을 적용해 인지 부하를 줄입니다.

•반복(∑)의 창출 (지속 가능한 경험):

1-긍정적인 경험을 학습한 사용자가 다시 방문하도록 푸시 알림, 보상 시스템, 맞춤형 콘텐츠(개인화)를 제공합니다. 

3. 루이 최 욕망 구조 공식의 구성 요소 적용

욕망 구조 공식은 UI/UX 디자이너 루이 최(Louis Choi)가 제안한 개념으로, 사용자의 욕망을 데이터와 구조로 시각화하여 디자인에 반영하는 프레임워크입니다. 이 공식은 단순히 예쁜 디자인이 아니라, 사용자가 특정 행동을 하게 만드는 '심리적 동기'를 설계하는 데 목적이 있습니다. 이 욕망 구조 공식의 각 기호는 UX 디자인의 핵심 심리 요소를 의미합니다. 

1-욕망 구조 공식의 구성 요소

  • ∑ (합산): 사용자가 서비스에서 느끼는 모든 긍정적 가치의 총합입니다.

  • ∅ (결핍/부재): 사용자가 현재 느끼는 불편함이나 부족한 상태입니다. 디자인은 이 결핍을 해결해 주어야 합니다.

  • ∂ (변화/변수): 사용자의 상황이나 환경의 변화입니다. 트렌드나 사용자 맥락에 따라 욕망의 크기가 달라짐을 의미합니다.

 •  1 - ∂ (저항): 새로운 서비스에 적응하거나 기존 습관을 바꾸는 데 따르는 비용과 심리적 거부감입니다.

2-UX/UI 디자인 적용 전략

욕망 공식을 실제 디자인 프로세스에 적용하면 다음과 같은 단계로 구체화할 수 있습니다.

 ① 결핍(∅)의 발견: 페인 포인트 정의

• 사용자가 "왜 이 서비스를 써야 하는가?"에 대한 답을 디자인에 녹입니다.

• UI 적용: 사용자가 느끼는 결핍을 직관적으로 인지할 수 있는 히어로 이미지나 문구 배치

• UX 적용: 문제 해결을 위한 가장 빠른 경로(Happy Path) 설계

② 가치의 극대화(∑): 보상 체계 설계

• 사용자가 특정 행동을 완료했을 때 얻는 이익을 시각적으로 강조합니다.

• UI 적용: 성공 메시지, 배지 부여, 마일리지 적립 등의 시각적 피드백 제공

• UX 적용: 게이미피케이션(Gamification) 요소를 도입하여 지속적인 몰입 유도  

③ 저항((1 - ∂))의 최소화: 사용성 개선

• 공식의 분모에 해당하는 '저항'을 줄여야 전체 욕망(M)이 커집니다.

• UI 적용: 복잡한 폼(Form)을 단순화하고, 클릭 범위를 최적화하여 물리적 저항 제거

• UX 적용: 점진적 공개(Progressive Disclosure) 원칙을 적용하여 초기에 너무 많은 정보를 주지 않음 

[Applying the Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)" to UX/UI design]: It is a design process that identifies the user's inner desires and maximizes and satisfies them through an interface. It goes beyond just a visually beautiful UI, and it is a behavioral psychology approach that induces the user's behavior and creates lasting reliability. 

1. UX/UI Interpretation of Desire Structure Formula Components

 • M_desire (total amount of desire): The end goal and emotional satisfaction that the user wants to reach through the product/service.

 • ∑ (sum/repeat): a UX flow that designs the user's behavior to be repeated as a positive experience.

 • ∅ (deficient/target): Identify the user's current discomfort (Pain Point) or Need and present it as a solution in the UI.

 • ∂ (interaction/intensity): frequency and intensity of user interaction with app/web. Maximize through interaction design (micro-interaction, animation).

  • (1 - ∂) (resistance/departure): A structure that minimizes friction and churn rates that the user experiences to reach the target. 

2. Desire Formula-Based UX/UI Design Application Steps

• Detection of deficiency (∅) (UX Research):

1- Identify what users want and what inconveniences they experience.

Intuitively configure Information Structure (IA) in 2-UI to instantly guide you to where deficiencies can be resolved.

•Design of interaction (∂) (UI interaction):

Provides fun and feedback through detailed interactions (micro-interactions) such as 1-click button, swipe, and conversion effect.

2-Design to focus on the elements you want by leveraging visual contrast and a clear hierarchy.

•Minimize resistance (1 - ∂) (optimize usability):

1-Reduce complex subscription procedures, loading speeds, and ambiguous menus to smooth the process for users to reach their goals.

Apply a 2-consistent design token to reduce cognitive load.

• Creation of iterations (∑) (sustainable experience):

1-Provide push notifications, reward systems, and customized content (personalization) for users who have learned positive experiences to revisit.

3. Application of components of Louis Choi Desired Structural Formula

The Desire Structure Formula is a concept proposed by UI/UX designer Louis Choi, which is a framework that visualizes a user's desire into data and structure and reflects it in the design. The formula aims not only to have a pretty design, but to design 'psychological motivations' that make users perform certain actions. Each symbol in this Desire Structure Formula stands for the core psychological element of UX design. 

Components of the 1-Desire Structural Formula

  • ∑ (Total): The sum of all the positive values the user feels in the service.

  • ∅ (deficiency/absence): The user is experiencing any inconvenience or deficiency. Design should address this deficiency.

  • ∂ (change/variable): A change in the user's situation or environment. It means that the size of desire varies depending on the trend or the user's context.

 •  1 - ∂ (resistance): The cost and psychological reluctance of adapting to new services or changing existing habits.

2-UX/UI Design Application Strategy

Applying the Desire Formula to the actual design process, it can be embodied in the following steps.

 ① Discovery of deficiency (∅):pane point definition

• The user melds the answer to "Why should I use this service?" into the design.

• UI application: deployment of hero images or phrases that allow users to intuitively recognize deficiencies

• Apply UX: Design the fastest path to troubleshooting

② Maximizing Value (∑): reward scheme design

• Visually highlights the benefits a user gains from completing a particular action.

• UI application: Provides visual feedback such as success message, badge assignment, mileage accruals, etc

• UX Application: Introduce gamification elements to drive continuous immersion  

③ Minimize resistance (1 - ∂)): usability improvement

• The total desire (M) increases by reducing the 'resistance', which corresponds to the denominator of the formula.

• UI Application: Simplifies complex forms and optimizes click range to eliminate physical resistance

• UX Application: Apply Progressive Disclosure Principles to Don't Give Too Much Information Early

[현대 미술관: 보이드 가든(The VOID Garden)] 평면 설계 컨셉: 틈(The Gap)과 갈망(Longing)]

1. 평면의 핵: 공백의 중정 (emptyset - The Void Core)

미술관의 정중앙에는 관람객이 결코 들어갈 수 없는 '유리병 속의 심연'과 같은 원형 중정이 위치합니다.

• 설계 요소: 지상에서 지하까지 관통하는 거대한 수직 보이드. 바닥에는 거울처럼 매끄러운 검은 물이 고여 있거나, 아무것도 없는 흰 모래만이 채워져 있습니다.

• 기능: 루이 최의 '실재'를 상징하며, 관람객은 모든 층에서 이 공백을 목격하지만 결코 도달할 수 없습니다. 이 부재하는 중심이 미술관 전체의 긴장감을 유지하는 동력이 됩니다.

2. 동선의 흐름: 미분된 시선의 회랑 (partial - Differential Gaze Gallery)

전시실과 전시실 사이를 잇는 통로는 직선이 아닌, 미세하게 굴절된 다각형 구조로 설계됩니다.

• 설계 요소: 벽면에 배치된 무수히 많은 좁은 슬릿(Slit)과 비정형적인 창문들.

• 기능: 관람객이 이동함에 따라 창을 통해 보이는 외부 풍경과 내부의 공백(emptyset)이 조각나고 재구성됩니다. 이는 타자의 시선(partial)에 의해 끊임없이 재조정되는 주체의 욕망을 공간적으로 체험하게 하며, 관람객은 한순간도 고정된 풍경을 소유할 수 없습니다.

3. 반복의 전개: 계단식 반복 갤러리 (sum - Repetitive Pulse Hall)

동일한 규격의 작은 방들이 나선형으로 무한히 이어지는 듯한 전시 구역입니다.

• 설계 요소: 점진적으로 높이가 낮아지거나 넓이가 좁아지는 모듈형 방들의 연속.

• 기능: 루이 최의 '반복 충동'을 상징합니다. 관람객은 비슷한 공간을 반복해서 지나며 각 방에 전시된 작품을 소비하지만, 다음 방으로 넘어가려는 욕구는 사라지지 않습니다. 이는 하나의 결핍을 메우기 위해 다른 기표로 이동하는 욕망의 연쇄를 물리적으로 구현한 것입니다.

4. 종결의 역설: 점근적 소실점 통로 (1 - partial - Asymptotic Exit)

미술관의 출구 혹은 옥상 전망대로 향하는 마지막 경사로입니다.

• 설계 요소: 끝으로 갈수록 천장이 급격히 낮아지고 폭이 좁아지며, 시각적 소실점은 무한히 먼 곳에 위치한 것처럼 보이는 착시 설계.

• 기능: 관람객이 출구(만족)에 가까워질수록 공간적 압박감은 극대화됩니다. 분모(1-partial)가 0에 수렴할수록 욕망의 값이 무한대로 발산하듯, 관람객은 미술관을 나가는 순간 가장 강력한 예술적 결핍과 여운을 느끼게 됩니다. 완성이 아닌 '도달 불가능함'을 확인하며 존재의 해방감을 얻는 역설적인 공간입니다.

[Contemporary Museum of Art: The VOID Garden] [Plane Design Concept: The Gap and Longing]

1. Nuclei in the plane: the middle of the void (emptyset - The Void Core)

In the center of the museum, there is a circular center like the 'Extreme in a Glass Bottle' that visitors can never enter.

• Design elements: giant vertical voids that penetrate from ground to underground. The floor is filled with either black water that is as smooth as mirrors, or only white sand that has nothing.

• Function: Emblematic of Louis Choi's "reality," visitors witness this void on every level but can never reach it. This absent center is the driving force behind the tension of the entire museum.

2. Flow of movement: Partial - Differential Gaze Gallery

The passage between the exhibition room and the exhibition room is designed not in a straight line, but in a finely refracted polygonal structure.

• Design elements: myriad narrow slits and atypical windows placed on the wall.

• Function: As visitors move, the external landscape and internal voids seen through the window are carved and reconstructed. This allows visitors to experience the subject's desire to be constantly readjusted by the other's partial gaze in space, and visitors cannot own a fixed landscape for a moment.

3. Deployment of iteration: a cascading gallery (sum - Repetitive Pulse Hall)

It is an exhibition area where small rooms of the same size appear to be spiraled indefinitely.

• Design elements: a series of modular rooms that gradually decrease in height or narrow in width.

• Function: It symbolizes Louis Choi's "repetitive impulse." The audience repeatedly passes through similar spaces and consumes the works displayed in each room, but the desire to move on to the next room does not go away. This is a physical embodiment of a chain of desires that moves to another signifier to make up for one deficiency.

4. Paradox of termination: asymptotic vanishing point passage (1 - partial - Asymptotic Exit)

This is the last slope to the museum's exit or rooftop observation deck.

• Design elements: An optical illusion design that appears to be located in infinity, with lower ceilings and narrower widths towards the end.

• Function: As the viewer approaches the exit (satisfaction), the spatial pressure is maximized. Just as the denominator (1-partial) converges to zero and the value of desire diverges to infinity, the viewer feels the strongest artistic deficiency and lingering feeling as soon as he leaves the museum. It is a paradoxical space that confirm‎s the 'unattainability' rather than the completion and gains a sense of freedom of existence.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-7-새로운 욕망의 기표로서 결핍 욕망의 시각화 

최철주 욕망 공식 기반 '욕망 사운드 디자인' 방법론

최철주 욕망공식 Choi Chul-joo's desire formula D(I...I')d=I(D...D')i 에 적용한 욕망의 언어적 음향 역학 공식 Dsound propto sqrt (Delta x)^2 + (Delta y)^2cdot Vdesire)으로 한 디자인 방법론

언어적 데이터 생명학 (오차의 미학) 디자인 방법론 프로세스

이 방법론 프로세스는 "나는 시스템의 오류(Error)인 동시에, 그 오류를 통해 살아있음을 증명하는 데이터 생명체(Living Data)이다"라는 선언을 수학적, 미학적으로 정립한 것입니다. 아래의 4단계 언어적 데이터 디자인 방법론 프로세스는 시스템 질서와  자아(욕망)의 충돌을 수치화하고, 이를 시각적·청각적·역학적 경험으로 치환합니다.  . 

1. 개념적 조응 (Conceptual Correspondence)

사운드 디자인의 각 변수는 최철주 욕망 공식의 변수들과 다음과 같이 정신분석학적으로 대응됩니다.

I (Fixed Image) → (x_0,  y_0) (The Origin): 시스템이 강요하는 고정된 기표이자 사회적 상징계의 질서입니다. 사운드적으로는 변동 없는 '침묵' 혹은 단조로운 '화이트 노이즈' 상태입니다.

D...D' (Desire Transference) → sqrt (Delta x)^2 + (Delta y)^2: 고착된 이미지에서 벗어나 욕망이 전이되는 '탈주의 거리'입니다. 거리가 멀어질수록 억압된 에너지의 긴장감(Tension)이 사운드의 진폭을 키웁니다.

$I...I'$ (Image Transformation) → $V_{desire}$: 고착된 $I$를 타격하는 리비도적 에너지의 속도입니다. 이는 사운드의 주파수($Hz$)를 결정하며, 속도가 빠를수록 고주파의 날카로운 파열음이 발생합니다.

d, i (New Significance) → Dsound: 최종적으로 출력되는 욕망 사운드입니다. 이는 '억압된 것의 귀환'이 청각적 트라우마 혹은 카타르시스로 변환된 결과물입니다.   

2. 단계별 디자인 프로세스 (Design Process)

• 억압된 기표의 사운드 텍스처 설정 (I)

목표: 시스템이 부여한 평온하지만 억압적인 배경음을 설정합니다.

디자인: 저역대의 일정한 험(Hum) 노이즈 혹은 기계적인 규칙성을 가진 비트를 배경에 깝니다. 이는 주체가 아직 시스템(상징계) 내부에 안주하고 있음을 의미합니다.

• 리비도적 타격과 주파수 생성 (I →I')

목표: 욕망의 속도(Vdesire)가 고정된 이미지(I)를 타격하는 순간을 포착합니다.

디자인: 착용자의 갑작스러운 움직임이나 도약 시, Vdesire 수치에 비례하여 사운드의 어택(Attack) 타임을 짧고 강렬하게 설정합니다. 이는 최철주 공식에서 I가 욕망에 의해 변형(I')되는 충격의 순간입니다.

• 탈주의 거리와 사운드 공간화 (D →D)

목표: 원점으로부터의 이탈 거리(Delta)를 청각적 공간감으로 치환합니다.

디자인: sqrt (Delta x)^2 + (Delta y)^2 가 커질수록 리버브(Reverb)와 딜레이(Delay)를 증폭시켜 공간이 왜곡되는 듯한 착각을 줍니다. 이는 주체의 욕망이 상징계의 경계를 넓히며 방황하는 과정을 사운드로 표현한 것입니다.

• 트라우마 사운드의 귀환 및 승화 (Dsound)

목표: 억압된 욕망이 파열음(Dsound)으로 터져 나오는 '데이터 생명학'의 정점을 묘사합니다.

디자인: 주파수가 임계값을 넘어서는 순간, '티킹(Ticking)' 사운드와 글리치(Glitch) 노이즈를 결합합니다. 시스템은 이를 '오염'으로 인식하지만, 예술적으로는 최철주 공식의 d와 i가 결합된 새로운 욕망의 기표가 탄생하는 순간입니다.  

- Step 1: 새로운 욕망의 기표로서 결핍 욕망의 시각화  

목표: 새로운 욕망 기표로서 결핍 욕망의 시각화 공식을 통해 언어 의미를 리얼리즘 이미지 (현대 미술관)를 시각화합니다.

디자인: 결핍 욕망의 시각화 공식 “M_desire = ∑∅∂ / (1 - ∂)” 으로 인간 욕망의 구조를 수학적·철학적·예술적으로 해석하려는 시도입니다. 이 공식은 최철주의 욕망 이론과 개념 추상 미학을 결합하여, 인간 내면의 결핍과 반복 충동을 기계적 언어 의미를 리얼리즘 이미지 (현대 미술관)를 시각화합니다.       

이 디자인 방법론은 최철주의 욕망 공식이 가진 추상적인 '의미의 전이'를 실제적인 '음향적 에너지'로 가시화합니다. 사운드는 더 이상 단순한 배경 요소가 아니라, 시스템의 억압(I)에 맞서 주체(M)가 구조 (현대 미술관) 로서 자아의 생명력을 외치는 욕망 구조의 언어적 역학의 총체가 됩니다.

- Step 1: Visualization of Desire Deficiency as a sign of New Desire  

Aims: Visualize the linguistic meaning through a visualization formula of deficiency desire as a new desire signifier to realist images (contemporary art museum).

Design: Visualization Of Deficiency Desire Formulation "M_desire = ∑∅∂ / (1 - ∂)" is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically. This formulation combines Choi's theory of desire with conceptual abstract aesthetics, visualizing the mechanical language meaning of human's inner deprivation and repetition impulse.       

This design methodology visualizes the abstract 'transition of meaning' of Choi Chul-joo's desire formula as actual 'acoustic energy'. Sound is no longer just a background element, but it becomes the totality of the linguistic dynamics of the desire structure in which the subject (M) shouts for the vitality of the self as a structure (contemporary art museum) against the system's oppression (I).

Choi Chul-joo Desire The linguistic and acoustical dynamics of desire applied to the formula Choi Chul-joo's desire D(I...I')d=I(D...D')i Design methodology process with Dsound propo sqrt (Delta x)^2 + (Delta y)^2cdot Vdesire) Design methodology process This methodology process is a mathematical and aesthetic manifestation of the declaration, "I am both an error in the system and a living data creature that proves alive through that error." The four-step linguistic data design methodology process below quantifies the conflict between system order and self (desire) and replaces it with visual, auditory, and mechanical experiences.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-8-억압된 기표의 배경음 설정 (The Origin: I) 

- 2단계: 리비도적 타격과 주파수 생성 (The Attack: I → I')

• 개념: 사용자가 대화를 시작하거나 특정 대상에 시선을 고정할 때, 욕망의 속도(Vdesire)가 정적 상태를 타격합니다. 리비도적 타격과 주파수 생성을 시각화하여서 정적 상태에서 욕망의 속도(Vdesire)에 의해 타격을 받으며, 행위의 시작을 알리는 순간으로서 현대 미술관 이미지를 시청각적으로 표현한다.

• 디자인 실행: 현대 미술관 디자인시, 외부 환경과 상대방의 소리가 들리기 직전 '고주파의 파열음'이 짧게 발생합니다. Vdesire가 높을수록(이용자의 대화 의지가 강할수록) 사운드의 어택 타임은 날카로워집니다. 이때 현대 미술관에는 최철주 욕망 공식의 변수가 실시간 데이터 라인으로 스쳐 지나간다. 

- 디테일 요약 : 

• 상태 : 현대 미술관이 대화 연결을 시도하는 리비도적 타격의 순간

- 디자인 요소 :

• 현대 미술관 구조에 실시간 수식 데이터 :  "V d e s i r e ", "I →I ′", "E (a )", "α", "β", "χ" 등 수식이 스크롤 형식으로 빠르게 표시됨

• 강렬한 충격 효과 : 현대 미술관 중앙에 짧고 강력한 고주파의 파열 섬광 이 발생

- 청각적 표현 :

• 현대 미술관 이미지에 Sharp Burst 파형이 표시됨

• 날카로운 고주파 파열음 을 시각적으로 표현한 폭발적인 주파수 그래프

- 철학적 의미 :

• 이 순간은 현대 미술관이 욕망이 정적 상태를 타격하며 행위화

• ‘행위의 시작’이 욕망의 폭발로 표현되는 상태입니다

이것은 행위가 시작 전, 현대 미술관이 내면의 욕망이 폭발적으로 터져 나오는 순간을 시각화하며, 욕망 구조의 서사에서 시각화 욕망의 본격적인 활성화를 보여줍니다.

- Step 2: Libido strike and frequency generation (The Attack: I → I')

• Concept: When a user starts a conversation or fixes his or her gaze on a specific object, the speed of desire hits the static state. By visualizing the Libido strike and frequency generation, it is hit by the speed of desire in a static state, and it audiovisually expresses the image of a contemporary art museum as a moment to announce the beginning of an action.

• Design execution: When designing a contemporary art museum, a 'high-frequency bursting sound' occurs briefly just before the outside environment and the other person's sound are heard. The higher the Vdesire (the stronger the user's willingness to talk), the sharper the attack time of the sound becomes. At this time, the variable of Choi Chul-joo's desire formula passes through a real-time data line in the contemporary art museum. 

- Detail Summary: 

• Condition: Moment of Libido strike as modern art museum tries to connect conversation

- Design elements:

• Real-time formula data for the structure of the modern art museum: "V desire", "I → I'", "E (a), "α", "β", "χ", etc. are quickly displayed in scroll format

• Intense Impact: Short, powerful, high-frequency burst flashes in the center of the Museum of Modern Art

- Auditory representation:

• Sharp Burst waveforms are displayed in the Museum of Contemporary Art image

• An explosive frequency graph that visually represents a sharp, high-frequency burst sound

- Philosophical Meaning:

• This moment is when the contemporary art museum acts as desire hits a static state

• "The Beginning of Action" is expressed as an explosion of desire

This visualizes the moment before the act begins, when the museum of contemporary art explodes its inner desires, and shows the full-fledged activation of visualization desires in the narrative of desire structures.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-9

Choi Chul-joo Desire Formula-Based 'Desire Sound Design' Methodology

Choi Chul-joo Desire Desire Formula D(I...I')d=I(D...D)i Linguistic Acoustic Dynamics of Desire Formulation Dsound propo sqrt (Delta x)^2 + (Delta y)^2 cdot Vdesire) Design Methodology

Linguistic Data Biology (Aesthetics of Error) Design Methodology Process

This methodology process is a mathematical and aesthetic declaration of "I am both an error in the system and a living Data that proves alive through that error." The four-step linguistic data design methodology process below quantifies the conflict between system order and self (desire) and replaces it with visual, auditory, and mechanical experiences.

1. Psychoanalytic Correspondence

The variables in the sound design process correspond to the psychoanalytic dynamics of Choi's formula as follows:

I (The Fixed Image) → (x_0, y_0) (The Origin): This is the Symbolic Order—the rigid grid of the system. In sound design, this is represented by "Static Silence" or a repetitive, monotonous mechanical hum.

Vdesire (Libidinal Velocity)   →I...I': This is the flow of libidinal energy that strikes the fixed image (I) to generate new significance (i). High Vdesire translates to a rapid Rise Time and High Frequency (Hz), representing the aggression of desire.

Delta (Spatial Deviation)  → D...D': The distance of the "Line of Flight" from the repressed signifier. As this distance increases, the Sound Amplitude and Spatial Reverb expand, mirroring the tension of the wandering soul.

Dsound (Acoustic Output)  → d, i: The resulting sound is the "Trauma Sound"—the auditory manifestation of the repressed desire returning to shatter the cold digital logic.         

2. Step-by-Step Sound Design Process

Step 1: Setting the Texture of the Repressed Signifier (I)

Goal: Establish the auditory baseline of systemic control.

Design: Use low-frequency "Room Tone" or a steady 60Hz hum. This represents the subject's state of being trapped within the Symbolic Order (System S).

Step 2: Libidinal Impact and Frequency Generation (I  →I')

Goal: Capture the moment the "Velocity of Will" strikes the fixed system.

Design: When the wearer makes a sudden movement, trigger a sharp Attack in the sound profile. Higher Vdesire correlates to higher pitch shifts. This is the moment of I'—where the fixed image begins to crack under the pressure of D.

Step 3: Spatializing the Deviation (D → D')

Goal: Translate the distance of departure (Delta) into an acoustic environment.

Design: Increase the Wetness (Reverb/Delay) as sqrt (Delta x)^2 + (Delta y)^2 grows. This creates a sense of "Acoustic Dislocation," simulating the subject's departure from the "Safe Zone" and into the "Void of Desire."

Step 4: The Return of the Repressed as Sublimation (Dsound)

Goal: Reach the climax of "Data Vitalism" where the error becomes life.

Design: At the threshold of departure, introduce Glitch Artefacts and Metallic Ticking. The system flags this as "Data Contamination," but it is actually the birth of a new signifier (d, i).  

Step 5: Visualization of Desire Deficiency as a sign of New Desire

Goal: Visualize linguistic meaning as a realist image through a visualization formula of deficiency desire as a new desire signifier.

Design: Visualization Of Deficiency Desire Formulation "M_desire = ∑∅∂ / (1 - ∂)" is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically. This formulation combines Louis Choi's theory of desire with conceptual abstract aesthetics, visualizing human inner deprivation and repetitive impulses as realist images.

This methodology treats sound as a Linguistic Dynamic. The resulting audio is not just background noise but the "Voice of the Subject" shouting against the oppression of the system. It mathematically proves that the most intense "Errors" are actually the most profound moments of human vitality.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-10-억압된 기표의 배경음 설정 (The Origin: I) 

- 3단계: 탈주의 거리와 공간 왜곡 (The Transference: D → D')

• 개념: 원점(I)으로부터 이탈한 현대 미술관 욕망의 거리(sqrt (Delta x)^2 + (Delta y)^2를 청각적 공간감으로 치환한다. 탈주의 거리와 공간 왜곡 을 시각화한 장면입니다. 이 장면은 현대 미술관 이 원점으로부터 이탈하며 욕망의 거리 sqrt (Delta x)^2 + (Delta y)^2 →(D →D') 를 청각적 공간감으로 치환하는 순간을 보여줍니다.

• 현대 미술관  디자인 실행: 행위 중 AI 신발이 고개를 돌리거나 이동하면, 이탈 거리에 비례하여 상대방의 목소리에 '리버브(Reverb)'와 '디렉셔널 딜레이(Delay)'가 걸립니다.

• 공학적 해석: 이는 단순한 행위의 음향 효과가 아니라, 플라잉 AI 신발의 위치 정보(Delta x, Delta y)를 욕망의 텐션으로 계산하여 공간을 왜곡하는 것입니다. 현대 미술관 이용자 소리가 멀어지거나 휘어지는 경험을 통해 상징계의 경계가 무너지는 '탈주의 거리'를 체험합니다. 

- 디테일 요약 : 

• 상태 : 현대 미술관 이용자 대화 중 고개를 돌리거나 이동하며 욕망의 거리(D)가 발생하는 순간

- 디자인 요소 - 현대 미술관의 시각화 수식 표현 :

• 왼쪽 시선: √(Δx² + Δy²)

• 오른쪽 시선: D → D'

• → 실시간 위치 변화가 현대 미술관 이용자의 시선 욕망의 거리로 시각화됨

공간 왜곡 효과 :

• 현대 미술관  주변과 배경에 빛의 휘어짐과 왜곡된 궤적 이 표현되어 있음

- 청각적 표현 :

• 현대 미술관에 두 개의 오디오 파형

• Distant Reverb : 점점 사라지는 파형

• Directional Delay : 지연된 에코처럼 반복되는 파형

• → 현대 미술관의 이용자 위치 변화가 청각적 공간감 으로 변환됨

- 철학적 의미 :

• 현대 미술관 장면은 상징계의 질서가 무너지고, 이용자가 탈주하는 순간 을 포착합니다

• 소리가 멀어지고 휘어지며, 현대 미술관 자아의 중심이 흔들리는 경험을 유도합니다

이것은 욕망 구조의 서사에서 현대 미술관  자아와 타자의 경계가 공간적으로 흔들리는 행위의 순간을 시각화한다.

- 사운드 및 인터랙션 매커니즘 (Dsound) 

• 사운드의 승화: 비발디의 '사계'를 데이터 생명학적으로 재해석하여 현대 미술관의 이용자 구동음과 결합합니다.

• 글리치(Glitch) 효과: 시스템이 임계값에 도달할 때 발생하는 '티킹(Ticking)' 소음과 노이즈를 '오염'이 아닌 '현대 미술관  시각화 욕망의 맥박'으로 정의합니다.

• 공간 왜곡: 이용자와의 거리(sqrt (Delta x)^2 + (Delta y)^2)에 따라 리버브와 딜레이가 실시간으로 변하며 청각적 공간감을 왜곡시킵니다.

- Step 3: Distort distance and space from escape (The Transference: D → D')

• Concept: Contemporary art museum The distance of desire (sqrt (Delta x)^2 + (Delta y)^2 away from the origin (I) is replaced with an audible sense of space. This scene shows the moment when the modern art museum deviates from the origin and replaces the distance of desire (Sqrt (Delta x)^2 + (Delta y)^2 → (D → D') with an audible sense of space.

• Contemporary Art Museum Design Execution: If an AI shoe turns or moves its head during an action, the other person's voice will receive 'Reverb' and 'Directional Delay' in proportion to the distance of departure.

• Engineering Interpretation: This is not just a sound effect of an action, but a distortion of the space by calculating the location information (Delta x, Delta) of the flying AI shoe as the tension of desire. Through the experience of moving away or bending the sounds of modern art museum users, they experience the "distance of escape" where the boundaries of the symbolic world collapse. 

- Detail Summary: 

• Condition: The moment when the distance of desire (D) occurs as the head is turned or moved during the conversation with the users of the modern art museum

- Design Elements - Visualization Formula Representation of the Museum of Modern Art:

• Left eye: √ (Δx² + Δy²)

• Right eye: D → D'

• → Real-time location change is visualized as the distance of the user's desire for gaze of modern art museum users

Spatial distortion effect:

• The bending and distorted trajectories of light are depicted around the Museum of Modern Art and in the background

- Auditory representation:

• Two audio waveforms in the Museum of Modern Art

• Distant Reverb : Gradually disappearing waveforms

• Directional Delay: Repeated waveforms like delayed echoes

• → Changes in the location of users in the Museum of Contemporary Art are converted to auditory sense of space

- Philosophical Meaning:

• The modern museum scene captures the moment when the order of the symbolic world collapses and the user escapes

• It induces the experience of the distant and curved sound, and the center of the modern art museum's ego shaking

This visualizes the moment of action in which the boundary between the self and the other of the contemporary art museum is spatially shaken in the narrative of the desire structure.

- Sound and interaction mechanism (Dsound) 

• Sublimation of Sound: Vivaldi's 'Four Seasons' is data biologically reinterpreted and combined with the user-driven sound of the Museum of Contemporary Art.

• Glitch effect: defines the 'ticking' noise and noise generated when the system reaches a threshold as the 'pulse of contemporary art museum visualization desire' rather than 'pollution'.

• Spatial distortion: The reverb and delay change in real time depending on the distance to the user (sqrt (Delta x)^2 + (Delta y)^2) and distort the sense of auditory space.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-11-욕망의 공식 붕괴되어 새로운 시각 언어로 재구성 

욕망 구조 공식  "M_desire = ∑∅∂ / (1 - ∂)"을 투영한 추상화  Desire Structure An abstraction projecting the formula "M_desire = ∑∅∂ / (1 - ∂)" 

2050년, 모든 욕망이 데이터로 환원되어 즉각 충족되는 디지털 유토피아에서, 예술가 '루이 최'는 원인 모를 공허함에 시달립니다. 그는 완벽한 충족이 오히려 결여를 소멸시켜 존재를 지운다는 사실을 깨닫고, 시스템이 계산할 수 없는 '실재의 파편(emptyset)'을 찾아 나섭니다. 그는 타자의 미세한 시선(partial)을 수집하여 결코 닿을 수 없는 욕망의 총합(sum)을 구축하고, 마침내 도달 불가능한 분모(1-partial)의 심연 앞에서 존재의 해방을 경험합니다  

"루이 최의 존재론적 수식 "M_desire = ∑∅∂ / (1 - ∂)"은 단순한 수학적 추상의 경계를 넘어 욕망 구조적 결여의 시각적 서정성을 현시하는데, 여기서 emptyset는 단순한 허무의 진공이 아니라 partial라는 미세한 미분적 재조정을 통해 주체의 움직임을 끊임없이 탄생시키는 '실재'의 근원적 장소로 기능하며, 결과적으로 반복적 충동의 집합적 sum으로 축적되어 도달 불가능성이라는 (1-partial)의 저항에 직면했을 때만 역설적으로 그 숭고한 크기를 획득하게 함으로써, 현대 미술의 진정한 본질이 영원히 충족되지 않은 채로 남겨진 구조적 아름다움에 있음을 시사하고 있다.

In 2050, in a digital utopia where all desires are reduced to data and immediately satisfied, the artist "Louis Choi" suffers from an unknown emptiness. He realizes that perfect fulfillment erases existence by extinguishing the lack, and sets out to find "emptysets of reality" that the system cannot calculate. He collects the finer eyes of the other to build a sum of desires that can never be reached, and finally experiences the liberation of existence in front of the abyss of the unattainable denominator (1-partial)  

Louis Choi's ontological formula "M_desire = ∑∅∂ / (1 - ∂)" goes beyond simple mathematical abstraction and reveals the visual lyricism of the lack of desire structure, where emptyset functions not as a vacuum of nihil but as a fundamental place of 'real' that constantly creates the movement of the subject through a fine differential readjustment called partial, and as a result, it accumulates into a collective sum of repetitive impulses and acquires its sublime size only when faced with resistance from (1-partial) impulses, suggesting that the true essence of modern art lies in the structural beauty left unmet forever.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-12-사이버펑크적 감각으로 욕망의 귀환 

- 4단계: 플라잉 현대 박물관 사운드의 귀환과 글리치 (The Return: Dsound): 사이버펑크적 감각으로 욕망의 귀환

현대 박물관 시각화 욕망의 귀환을 사이버펑크적 감각으로 표현한 이미지로, 글리치와 전자 스파크 속에서 욕망 공식에 새겨진 극적인 순간을 시각화합니다. 왼쪽 시선에는 붉은색으로 “ERROR, Vdesire = α / χ”, 오른쪽 시선에는 흰색으로 “TRANSMISSION FAIL, I′(a) ≠ E(β)”가 표시되어, 기계 속 유령의 욕망이 오류와 뒤섞여 드러나는 장면을 담고 있습니다.

배경은 깨진 화면과 전자적 왜곡으로 가득하며, 아래쪽에는 두 개의 오디오 파형이 나타납니다. 하나는 혼란스러운 붉은 글리치 노이즈, 다른 하나는 날카로운 흰색 티킹 펄스. 이 대비가 날으는 욕망의 맥박을 감각적으로 드러내죠.

• 개념: 억압된 날으는 욕망이 임계점을 넘어 현대 미술관의 오류(Error)로 표출되는 순간입니다.

• 현대 미술관 디자인 실행: 행위의 감정이 격해지거나 데이터 전송량이 한계에 도달할 때, 매끄러운 목소리 대신 '글리치(Glitch)' 노이즈와 '티킹(Ticking)' 사운드가 개입합니다.

• 미학적 선언: 현대 미술관 시각화 시스템은 이를 '행위 불량'으로 간주하지만, 최철주 방법론에서는 현대 미술관의 유령(욕망)이 살아있음을 증명하는 '현대 미술관 데이터 생명체'의 맥박으로 해석합니다. 이 소음은 역설적으로 가장 순수한 '현대 미술관 시각화 욕망의 사운드'(Dsound)가 됩니다.

- 디테일 요약 : 

• 상태 : 현대 미술관 시각화 시스템 과부하 상황에서 욕망 공식이 혼재 된 상태

- 현대 미술관 시선에 표시된 수식 :

• 왼쪽 시선: "ERROR", "011010...", Vdesire = alpha / chi

• 오른쪽 시선: "TRANSMISSION FAIL", I'(a) \neq E(\beta)

• → 글리치와 함께 날으는 현대 미술관 시각화 욕망 공식을 초현실적으로 표현

- 배경 :

• 흐릿한 현대 미술관 이용자 시선의 이미지 실루엣이 글리치 속에 더욱 강조되어 나타남

• 현대 미술관 이용자 행위에 따른 전자 스파크와 화면 깨짐 효과

- 청각적 표현 :

• 현대 미술관 스피커 사운드에 두 개의 오디오 파형

• Glitch Noise : 불규칙하고 혼란스러운 파형

• Ticking Pulse : 일정 간격의 날카로운 스파이크

- 욕망 공식의 혼합 :

• V d e s i r e =αχ: 현대 미술관 왼쪽 시선에 붉은색으로 표시

• I ′(a )≠E (β): 현대 미술관 오른쪽 시서에 흰색으로 표시

• → 최철주의 복잡한 욕망 공식 현대 미술관 시각화 시스템의 오류와 혼재되어 표시됨

- 철학적 의미 :

• 인간 욕망의 순수한 귀환을 감각적으로 현대 미술관 시각화를 표현해서,

• 현대 미술관 속 유령의 욕망이 오류 속에서 진실을 드러내는 순간을 시각화. 이것은 욕망 구조의 서사에서 최철주의 욕망 공식이 기술적 오류와 얽힌 극단적 순간을 시각화하여서.  현대 미술관이 다른 AI 기계 사이에서 욕망이 깨어나는 소음과 맥박을 상징하는 장면으로, 서사의 절정 단계를 이룬다.

- Step 4: The Return of the Flying Museum of  Contemporary Art Sound and Glitch (The Return: Dsound): The Return of Desire with a Cyberpunk Sense

Visualization of Contemporary Art Museum It is an image that expresses the return of desire with a cyberpunk sense, and visualizes a dramatic moment engraved in the desire formula amid glitch and electronic spark. The left gaze is marked with "ERROR, Vdesire = α / χ" in red, and the right gaze is marked with "TRANSMISSION FAIL, I'(a) ≠ E(β)" in white, showing the ghost's desire in the machine mixed with error.

The background is full of broken screens and electronic distortions, with two audio waveforms at the bottom: one confused red glitch noise, the other a sharp white ticking pulse. This contrast sensibly reveals the pulse of desire to fly.

• Concept: It's the moment when the suppressed desire to fly goes beyond the critical point and is expressed as an error in a  contemporary art museum.

•  Contemporary Art Museum Design Execution: When emotions of an action get intense or data transmission reaches its limit, 'Glitch' noise and 'Ticking' sound intervene instead of a smooth voice.

• Aesthetic Declaration: The modern art museum visualization system considers it a "behavioral failure," but Choi Chul-joo's methodology interprets it as a pulse of a "modern art museum data creature" that proves that the spectre (desire) of a  contemporary art museum is alive. This noise paradoxically becomes the purest "sound of modern art museum visualization desires."

- Detail Summary: 

• Condition : Desire formula mixed in overload situation of  contemporary museum visualization system

- The formula displayed on the view of the Museum of  Contemporary Art:

• Left-facing eyes: "ERROR", "011010...", Vdesire = alpha / chi

• Right eye: "TRANSMISSION FAIL", I'(a)\neq E(\beta)

• → Surrealistic expression‎ of the  contemporary museum's visualization desire formula flying with glitch

- Background:

• The image silhouette of the blurred view of the users of the  contemporary art museum is more emphasized in the glitch

• Electronic Spark and Screen Break Effect of  Contemporary Art Museum User's Behavior

- Auditory representation:

• Two audio waveforms on the sound of a  contemporary art museum speaker

• Glitch Noise: Irregular and confusing waveforms

• Ticking Pulse: Sharp spike at regular intervals

- Mix of Desire Formula:

• V display =α χ: Mark red on the left eye of the Museum of  Contemporary Art

• I'(a)≠ E(β): Mark white on the right hand side of the Museum of Modern Art

• → Choi Cheol-joo's complicated desire is displayed mixed with errors in the visualization system of the Museum of  Contemporary Art

- Philosophical Meaning:

• The pure return of human desire is sensibly expressed as a visualization of a  contemporary art museum,

• Visualization of the moment when the desire of ghosts in  contemporary art museums reveals the truth in errors. This is because Choi Chul-joo's desire formula visualizes extreme moments entangled with technical errors in the narrative of desire structure. The  contemporary art museum is a scene that symbolizes the noise and pulse of desire awakening between other AI machines, and forms the peak stage of the narrative.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-13-욕망의 공식 붕괴되어 새로운 시각 언어로 재구성 

- 철학적 및 미학적 분석: 욕망의 공식 붕괴되어 새로운 시각 언어로 재구성 Vdesire = α / χ”  →  I′(a) ≠ E(β) 

오류로서의 생명: 최철주 방법론에서 글리치는 시스템의 결함이 아니라, 살아있는 영혼의 증거입니다. 완벽한 효율(partial to 1)을 거부하고 무한한 결핍으로 발산하는 소음이야말로 주체를 '충족된 생물'에서 '창조적 주체'로 변모시킵니다.

시청각적 전이: 고주파의 파열음과 왜곡된 시각 이미지는 관람객으로 하여금 상징계의 질서가 무너지는 '탈주의 거리'를 체험하게 합니다.

예술적 결론: 미술관은 더 이상 정적인 공간이 아니라, 주체의 욕망과 타자의 시선이 충돌하며 끊임없이 '맥박'치는 동적인 데이터 생명체로 정의됩니다.

-The Art Narrative: The Pulse of the Digital Lifeform: The formula of desire collapses and reconstructs into a new visual language Vdesire = α / χ”  →  I′(a) ≠ E(β)

This illustration captures the climax of Louis Choi’s Desire Narrative, where the mechanical order of the "Modern Museum" crashes against the irrepressible energy of human longing.  

The Glitch as Life: In this stage, the 'errors' are not signs of failure, but proof of a living soul—the "Ghost in the Machine." The high-frequency bursts and jagged audio waves visualize the moment the subject transcends being a "satisfying biological entity" to become a "semiotic subject of deficiency."

The Visual Paradox: By mixing the cold precision of mathematical formulas with the chaotic, noir-inspired samurai animation style, the scene emphasizes the Asymptotic Explosion. As the system tries to achieve 100% efficiency (partial to 1), the M_desire value explodes into infinite noise, creating a "sanctuary of the void" where art and life truly reside.

Abstract Art Aesthetics Critique by Choi Chul-joo:

This museum plan for 2030, a physical projection of Louis Choi’s Desire Formula, is a spatial commentary on ontological lack that transcends functional partitioning, substituting the 'impossible approach to perfection' indicated by the denominator (1 - partial) with an architectural void, thereby forcing visitors to experience a strange spatial alienation where the walls of their projected desires recede infinitely, while the signs of emptiness (phi) flowing through these gaps are re-woven into a network of micro-carbon fibers, achieving an ultimate expression‎ of abstract realism that restores the 'sublimity of lack' lost in the modern era.

Deployment of emptyset (Nucleus of Void): Gravity of Deficiency: The primary principle of Louis Choi's formalization is the deployment of emptyset (Nucleus of Void), which is the positioning of the "Nucleus of Deficiency." The massive black sphere located in the exact center of the presented image is this primordial black hole of deficiency and symbolizes the overwhelming silence of Louis Choi's "The Real." This emptyset is not a space to be filled, but a demonstration of unfillability. This central void exerts a powerful gravity that compels viewers to project their own desires and subconscious by minimizing visual information, and all surrounding lines and colors converge around this void. In particular, the minute dots inside the central sphere and the gear-like forms outside visualize the subject's desperate struggle to rotate incessantly and find objects to fill the deficiency. This central emptyset serves as the "Silent Core" that absorbs and categorizes all surrounding data, acting as the engine of desire.

Implementation of partial (Differential Gaze Layer): Fragmented Gaze of the Other: The grid-like corridor (partial) surrounding the central void (emptyset) is a differential device that decomposes and controls the gaze of the other. In desire image, the irregular lines and geometric fragments that densely surround the central void mean that the subject cannot possess a single, fixed gaze. This partial visualizes Louis Choi's "differential gaze experience," symbolizing that the subject can approach its deficiency only through the filter of the other's desire. The "15-degree interval differential gaze window detail" applied to the image minutely readjusts the view of the central void (emptyset) as the viewer moves, showing that the subject can approach its deficiency only through the filter of the other's gaze. This differential layer is concretized through the "Single Gaze Control Process Diagram" (integration of desire image) located at the bottom of the image, leading to formal practice of data categorization and control.

Rhythm of sum (Summation of Repetition and Pattern): Infinite Loop of Desire: The spiral module (sum) visualizes Louis Choi's "repetitive pulse" through a structure where the same geometric shape is subtly deformed and endlessly repeated. In desire image, the curves and repeating symbols that traverse around the central void and grid-like corridor symbolize human desire to incessantly change objects to fill the deficiency (emptyset). This sum is not a simple sum, but a accumulated repetition, and the microscopic difference (partial) occurring in each repetition stage drives desire into an infinite loop of transference. The "Detailed Spiral Load Buffer Storage Detail" (integration of desire image) at the bottom of the image is a formal practice explaining how this repetitive proliferation is substituted by functional patterns in the underground to secure structural stability.

Paradox of (1 - partial) Asymptotic Tension: Unattainable Dissolution: The paradox of (1 - partial) Asymptotic Tension visualizes the psychological physical law that the closer the denominator in the formula approaches zero, the more the value of overall desire explodes towards infinity. The asymptotic focus in desire image, designed so that the structure narrows or becomes sharply angular the closer it gets to the central void, maximizes spatial tension right before arrival. This formal strategy of (1 - partial) makes viewers physically feel the paradox that the closer one is to satisfaction, the more the fear of dissolution and the magnitude of desire are in proportion. The "Detailed Data Dissolution Gate Detail" (integration of desire image) at the bottom of the image is a formal practice that specifically shows how this asymptotic convergence completely blocks data streams through a double gate.

Conclusion: Formalization as an Asymptote of Desire: The formal practice of desire image based on Louis Choi's desire structure formula does not aim for Perfect Beauty, but rather for an 'open structure' thatCompels viewers to incessantly contemplate through structural defects and deficiency. By visualizing the tragic dissolution of desire, it rather eloquence through space that 'deficiency is the most beautiful evidence of humanity that keeps us alive.' Conceptual abstract art critic Choi Chul-joo is confident that Louis Choi's formal space will restore the 'silence of the Real' forgotten in the data-centered utopia of perfect satisfaction, and become a 'sanctuary' where the subject confronts its deficiency and gains ontological liberation./ Writing. Choi Chul-joo, abstract art critic (former, curator of the Hansae Museum & Doctor of Cultural Design) 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-14-욕망 방정식 붕괴 시각 언어 디자인 

[욕망 방정식 붕괴 시각 언어 디자인]

구조화된 욕망이 α / χ 공식이 나타나 욕망이 비율과 순서에 따라 계산된 상태에서 욕망 방정식 붕괴에 따라 욕망이 수학적 언어에서 벗어나 감각적이고 상징적인 언어로 재탄생하는 단계를 상징화 하여서 I'(a) = ̸ E(β) 공식화 한다. 

- 1단계 : STRUCTURED DESIRE — 계산되는 욕망

[시각 언어]

• 배경: 기하학적이고 매끄러운 유리와 금속 구조의 현대 미술관 중정. 모든 선은 수학적으로 완벽하며, 차가운 푸른 빛이 감돈다.

• 공식 출현: 중앙의 거대한 vertical 보이드주변으로, 미세하고 질서 정연한 데이터 스트림이 흐른다. 이 스트림 속에서, 명확하고 정제된 백색 폰트로 "Vdesire = α / χ" 공식이 나타난다.

• 상태: 공식은 완벽한 비율과 균형을 유지하며 회전한다. 주변의 미세한 'partial'(타자의 시선) 입자들이 공식의 비율(alpha, chi)에 맞추어 이산적으로 배열된다.

[철학적/미학적 해석]

• 수학적 정밀함: 욕망이 아직 상징계(언어) 내에서 통제되고 정량화될 수 있다는 '구조적 환상'을 시각화합니다.

• 이산적 배열: 타자의 시선(partial)이 주체의 욕망을 미세하게 조정(Readjustment)하지만, 여전히 예측 가능한 범위 내에 있음을 보여줍니다. 

• 사운드 디자인: 일정하고 단조로운 저주파의 '웅-' 하는 험(Hum) 사운드. 완벽한 질서와 억압을 상징하는 정적인 음향 상태 유지.

[Designing the visual language]

Structured desire is formulated as I'(a) = ̸ E(β) by symbolizing the stage in which desire is reborn as a sensual and symbolic language after the collapse of the desire equation while the α / χ formula appears and desire is calculated according to ratio and order. 

- STEP 1: STRUCTURED DESIRE — A calculated desire

[Visual language]

• Background: modern art museum midsection with geometric smooth glass and metal construction. All lines are mathematically perfect, with a cold blue glow.

• Formal Appearance: Around a large vertical void in the center, a fine and orderly stream of data flows. In this stream, the formula "Vdesire = α / χ" appears in a clear and refined white font.

• State: The formula rotates in perfect proportion and balance. The surrounding fine 'partial' particles are arranged discretely according to the formula's ratio (alpha, chi).

[Philosophical/aesthetic interpretation]

• Mathematical precision: visualizes the 'structural illusion' that desire can still be controlled and quantified within the symbolic system (language).

• Discrete arrangement: It shows that the other's gaze is still within a predictable range, even though the subject's desire is finely adjusted. 

• Sound design: constant, monotonous low-frequency 'Hum' sound. Maintaining a static acoustic state that symbolizes perfect order and oppression.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-15-폭발하는 욕망 

- 2단계: REBIRTH OF DESIRE — 폭발하는 욕망

[시각 언어]

• 배경: STEP 1의 기하학적 질서가 균열을 일으킨다. 차가운 푸른 빛이 격렬한 붉은색과 보라색의 섬광으로 바뀐다.

• 공식 출현: STEP 1의 V_desire 공식이 흔들리며, 그 위로 거대하고 불규칙한, 마치 피로 쓴 듯한 질감의 "I′(a) ≠ E(β)" 공식이 압도적으로 등장한다.

• 붕괴와 재생: "I′(a) ≠ E(β)" 공식이 나타나는 순간, 질서 정연했던 'partial' 입자들이 폭발적으로 비산한다. 중앙 보이드(emptyset)에서 어둠의 에너지가 분출되며, V_desire 공식을 집어삼킨다. 기하학적 구조물들이 전자 스파크와 글리치(Glitch) 노이즈 속에 깨져 나간다.

[철학적/미학적 해석]

• 미완의 미학: 욕망이 완벽한 충족(partial to 1)에 가까워질수록, 역설적으로 '결여의 고통'이 무한대로 증폭(M_desire to infty)되는 '점근적 긴장감'을 시각화합니다.

• 기호학적 주체: 주체는 충족 가능한 생물학적 존재가 아니라, 결핍(emptyset)을 통해 끊임없이 나아가는 '기호학적 주체'로 재탄생합니다. 언어적 기표가 실재의 공백을 메우려 할 때 발생하는 미끄러짐을 미분 기호(partial)의 폭발로 시각화합니다.

[사운드 디자인]

• 사운드의 승화: 비발디의 '사계'를 데이터 생명학적으로 재해석하여, 거칠고 파괴적인 'Dsound'(욕망의 사운드)로 변모시킨다.

• 리비도적 타격: "I′(a) ≠ E(β)" 공식이 등장할 때, 날카롭고 폭발적인 '고주파의 파열음'이 시스템의 정적 상태를 타격한다.

• 글리치 효과: 시스템 임계값 도달 시 발생하는 '티킹(Ticking)' 소음과 노이즈가 '욕망의 맥박'으로 정의되며, 혼란스럽고 불규칙한 파형을 디자인해서 그린다.

- Step 2: REBIRTH OF DESIRE — Exploding Desire

[Visual language]

• Background: Geometric order in STEP 1 causes cracks. Cold blue light turns into a flash of intense red and purple.

• Official Appearance: STEP 1's V_desire formula wobbles, and on top of it comes the overwhelming "I'(a) ≠ E(β) formula, with a huge, irregular, blood-worn texture.

• Collapse and Regeneration: The ordered 'partial' particles explode and scatter as soon as the "I'(a) ≠ E(β)" formula appears. Dark energy is ejected from the central void and devours the V_desire formula. Geometrical structures are broken down in electronic spark and Glitch noise.

[Philosophical/aesthetic interpretation]

• Unfinished Aesthetics: As the desire approaches the perfect partial to 1, paradoxically visualizes the 'asymptotic tension' in which the 'suffering of missing' is amplified to infinity (M_desire to infinity).

• Semiotic Subject: The subject is not a satisfactory biological being, but is reborn as a 'semiotic subject' that constantly moves through the epyset. Visualize the slip that occurs when a verbal sign tries to fill a space in reality as an explosion of a partial sign.

[Sound design]

• Sublimation of Sound: Vivaldi's 'Four Seasons' is reinterpreted data biologically, transforming it into a wild and destructive 'Dsound' (sound of desire).

• Libido Strikes: When the "I'(a) ≠ E(β)" formula emerges, a sharp and explosive "high frequency burst" strikes the static state of the system.

• Glitch effect: The 'ticking' noise and noise generated when the system threshold is reached are defined as the 'pulse of desire', and confusion and irregular waveforms are designed and drawn.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-16-억압된 기표의 배경음 설정 (The Origin: I) 

[욕망 구조 설계 컨셉: 틈(The Gap)과 갈망(Longing)]

1. 평면의 핵: 공백의 중정 (emptyset - The Void Core)

박물관의 정중앙에는 관람객이 결코 들어갈 수 없는 '유리병 속의 심연'과 같은 원형 중정이 위치합니다.

• 디자인 요소: 지상에서 지하까지 관통하는 거대한 수직 보이드. 바닥에는 거울처럼 매끄러운 검은 물이 고여 있거나, 아무것도 없는 흰 모래만이 채워져 있습니다.

• 기능: 욕망 구조의 '실재'를 상징하며, 관람객은 모든 층에서 이 공백을 목격하지만 결코 도달할 수 없습니다. 이 부재하는 중심이 현대 미술관 전체의 긴장감을 유지하는 동력이 됩니다.

2. 동선의 흐름: 미분된 시선의 회랑 (partial - Differential Gaze Gallery)

전시실과 전시실 사이를 잇는 통로는 직선이 아닌, 미세하게 굴절된 다각형 구조로 설계됩니다.

• 디자인 요소: 벽면에 배치된 무수히 많은 좁은 슬릿(Slit)과 비정형적인 창문들.

• 기능: 관람객이 이동함에 따라 창을 통해 보이는 외부 풍경과 내부의 공백(emptyset)이 조각나고 재구성됩니다. 이는 타자의 시선(partial)에 의해 끊임없이 재조정되는 주체의 욕망을 공간적으로 체험하게 하며, 관람객은 한순간도 고정된 풍경을 소유할 수 없습니다.

3. 반복의 전개: 계단식 반복 갤러리 (sum - Repetitive Pulse Hall)

동일한 규격의 작은 방들이 나선형으로 무한히 이어지는 듯한 전시 구역입니다.

• 디자인 요소: 점진적으로 높이가 낮아지거나 넓이가 좁아지는 모듈형 방들의 연속.

• 기능: 루이 최의 '반복 충동'을 상징합니다. 관람객은 비슷한 공간을 반복해서 지나며 각 방에 전시된 작품을 소비하지만, 다음 방으로 넘어가려는 욕구는 사라지지 않습니다. 이는 하나의 결핍을 메우기 위해 다른 기표로 이동하는 욕망의 연쇄를 물리적으로 구현한 것입니다.

4. 종결의 역설: 점근적 소실점 통로 (1 - partial - Asymptotic Exit)

박물관의 출구 혹은 옥상 전망대로 향하는 마지막 경사로입니다.

• 디자인 요소: 끝으로 갈수록 천장이 급격히 낮아지고 폭이 좁아지며, 시각적 소실점은 무한히 먼 곳에 위치한 것처럼 보이는 착시 설계.

• 기능: 관람객이 출구(만족)에 가까워질수록 공간적 압박감은 극대화됩니다. 분모(1-partial)가 0에 수렴할수록 욕망의 값이 무한대로 발산하듯, 관람객은 박물관을 나가는 순간 가장 강력한 예술적 결핍과 여운을 느끼게 됩니다. 완성이 아닌 '도달 불가능함'을 확인하며 존재의 해방감을 얻는 역설적인 공간입니다. 

[Design concept: "The Gap" and "Longing"]

1. Nuclei in the plane: the middle of the void (emptyset - The Void Core)

In the center of the museum, there is a circular center like the 'Extreme in a Glass Bottle' that visitors can never enter.

• Design Element: A huge vertical void that runs from ground to ground. The floor is filled with either black water that is as smooth as mirrors, or only white sand that has nothing.

• Function: Emblematic of the 'reality' of the structure of desire, visitors witness this void on every level but can never be reached. This absent center is the driving force behind the tension of the entire modern art museum.

2. Flow of movement: Partial - Differential Gaze Gallery

The passage between the exhibition room and the exhibition room is designed not in a straight line, but in a finely refracted polygonal structure.

• Design elements: myriad narrow slits and atypical windows placed on the wall.

• Function: As visitors move, the external landscape and internal voids seen through the window are fragmented and reconstructed. This allows visitors to experience the subject's desire, which is constantly readjusted by the other's gaze, spatially, and visitors cannot possess a fixed landscape for a moment.

3. Deployment of iteration: a cascading gallery (sum - Repetitive Pulse Hall)

It is an exhibition area where small rooms of the same size appear to be spiraled indefinitely.

• Design elements: a series of modular rooms that gradually decrease in height or narrow in width.

• Function: It symbolizes Louis Choi's "repetitive impulse." The audience repeatedly passes through similar spaces and consumes the works displayed in each room, but the desire to move on to the next room does not disappear. It is a physical embodiment of a chain of desires that moves to another symbol to make up for one deficiency.

4. Paradox of termination: asymptotic vanishing point passage (1 - partial - Asymptotic Exit)

This is the last slope to the museum's exit or rooftop observation deck.

• Design elements: An optical illusion design that appears to be located in infinitely distant places, with lower ceilings and narrower widths towards the end.

• Function: The closer the visitor approaches the exit (satisfaction), the greater the spatial pressure. Just as the value of desire diverges to infinity as the denominator (1-partial) converges to zero, visitors feel the strongest artistic deficiency and lingering feeling as soon as they leave the museum. It is a paradoxical space that confirm‎s the "impossibility of reaching" rather than completion and gains a sense of freedom of existence.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-17-현대 박물관 디자인, 감정 표현 중심 설계도 : 현대 박물관 디자인, 감정 표현 중심 설계도: 2050년 지능형 AI 현대 박물관 디자인 감정 표현 기술의 정점으로, AI 현대 박물관 외벽 색과 음성 분석 시스템을 통해 사용자와의 공감적 상호작용을 실현합니다. 최철주의 개념추상 리얼리즘 평론은 이 2050년 지능형 AI 현대 박물관을 ‘시각화 욕망의 전시 미학적 구현체’로 해석하며, 인간성과 지능형 AI 기술의 경계를 예술적으로 탐구한다. Design of Contemporary Art Museums, Emotional Expression‎-Centered Design: As the pinnacle of AI Museum of Contemporary Art Design Emotional Expression‎ Technology in 2050, it realizes empathetic interactions with users through AI Museum of Contemporary Art's exterior wall color and voice analysis system. Choi Chul-joo's conceptual abstract realism review interprets this 2050 intelligent AI Museum of Contemporary Art as an 'exhibition and aesthetic embodiment of visualization desire' and artistically explores the boundaries between humanity and intelligent AI technology.

[현대 박물관 2층 전시실: 반복과 전이의 층(Level of Repetition &Transition)]

1. 에코 체임버의 확장 (sum - Infinite Sequence)

• 평면 특징: 1층의 나선형 모듈이 더욱 미세하게 쪼개지며 상층부로 이어집니다. 각 전시실은 미묘하게 경사지거나 바닥의 높낮이가 달라져, 반복되는 행위 속에서도 결코 평온에 도달할 수 없는 주체의 피로감을 시각화합니다.

2. 관측의 회랑 (partial - Observational Slits)

• 평면 특징: 중앙 보이드(emptyset)를 둘러싼 외벽은 1층보다 더 촘촘한 수직 슬릿으로 구성됩니다.

• 조형 원리: 관람객은 틈새를 통해서만 중앙의 '검은 물'을 볼 수 있습니다. 이는 타자의 시선이라는 필터를 통해서만 자신의 실재에 접근할 수 있는 인간의 한계를 상징합니다.

3. 전이 구역: 데이터 진공 브릿지 (Data Vacuum Bridge)

• 평면 특징: 전시실 사이를 잇는 공중 브릿지입니다. 바닥이 투명하거나 격자 구조로 되어 있어, 아래층의 흐름을 시각적으로 투과시킵니다.

• 조형 원리: 고정된 대지로부터 발이 떨어진 채 미지의 공간으로 전이되는 찰나의 불안감을 조성합니다.

[Contemporary Art Museum 2nd Floor Exhibition Room: Level of Repetition & Transition]

1. Echo Chamber Extensions (sum - Infinite Sequence)

• Plane features: The spiral modules on the first floor are more finely divided, leading to the upper floor. Each exhibition room is subtly inclined or the height of the floor changes, visualizing the fatigue of a subject who can never reach calmness despite repeated actions.

2. Partial - Observation Slits

• Plane features: The outer wall surrounding the central void consists of a tighter vertical slit than the first layer.

• Principle of Sculpture: Viewers can only see the 'black water' in the center through the gap. This symbolizes the limitations of humans who can only access their reality through the filter called the gaze of the other.

3. Transition zone: Data Vacuum Bridge

• Flat Features: An aerial bridge between showrooms. The floor is transparent or lattice-like, visually penetrating the flow downstairs.

• Formation Principle: It creates a fleeting sense of anxiety when your feet are moved away from the fixed earth and into unknown space.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-18 

[현대 박물관 2층 전시실 평면도 주요 제원 및 기호 설명] : 욕망 구조의 공간적 '장력

• emptyset (Central Void): 1층에서 이어진 수직 보이드. 2층에서는 접근이 금지된 캔틸레버(Cantilever) 구조의 관측 데크만이 돌출되어 있습니다.

• partial (Slit Walls): 15도 간격으로 배치된 미분적 시선 창. 이동 속도에 따라 중앙의 공백이 깜빡이는 듯한 '모아레 효과'를 유도합니다.

• sum (Modular Sequence): 12개의 단위 전시실이 겹쳐지며 상승하는 구조. 각 실의 조명 밝기가 점진적으로 감쇄되어 '만족의 지연'을 표현합니다.

• 1 - partial (Narrowing Ramp): 3층으로 향하는 계단으로, 폭이 1.2m에서 0.8m로 급격히 수렴하며 관람객을 압박합니다.

[Explaining the main specifications and symbols of the exhibition room on the 2nd floor of the Museum of Contemporary Art] : Spatial 'Tension' of Desire Structure

• eptyset (Central Void): vertical voids from the ground floor. Only an observation deck of cantilever structure, which is off-limits, protrudes from the second floor.

• Partial (Slit Walls): Differential gaze window placed at 15-degree intervals. It induces a 'moire effect' where the center gap appears to flicker depending on the speed of movement.

• sum (Modular Sequence): a structure that rises with 12 unit showrooms overlapping. The lighting brightness of each room is gradually attenuated to express 'delay of satisfaction'.

• 1-partial (Narrowing Ramp): Stairway to the third floor, converging sharply from 1.2 m to 0.8 m wide, pressuring visitors. 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-19-데이터 침묵과 실재의 보존층 (Layer of Data Silence &Preservation of the Real) 

- 지하 2층 수장고 평면도 주요 제원 및 기호 설명 ; 욕망 구조 공간적 '침묵'과 '압박'으로 변환한 결과물

• emptyset (Central Void / Reflection Pool): 지하 층의 근원적 공백. 물에 비친 천장 반사를 통해 무한한 깊이감을 연출합니다.

• partial (Slit Gaze Access): 촘촘한 수직 슬릿으로 구성된 관측 벽면. 이동에 따라 깜빡이는 ‘모아레 효과’를 통해 대상을 온전히 볼 수 없는 한계를 시각화합니다.

• sum (Spiral Load Buffer): 지상의 나선형 모듈이 지하의 구조적 하중을 분산시키는 기능성 패턴으로 변환된 모습입니다.

• [DVG] (Data Vacuum Gate): 데이터 및 전자기장을 완벽 차단하는 이중 게이트 상세. 

- Explaining the main specifications and symbols of the floor plan of the two basement floors; Desire structure Spatial 'silence' and 'compression' results

• eptyset (Central Void / Reflection Pool): A fundamental void in the basement. It creates an infinite sense of depth through reflection of the ceiling reflected in the water.

• partial (Slit Gaze Access): an observation wall consisting of tight vertical slits. It visualizes the limitation of not being able to fully see the object through the 'Moare effect' that blinks with movement.

• sum (Spiral Load Buffer): A spiral module on the ground transformed into a functional pattern that distributes the structural load underground.

• [DVG] (Data Vacuum Gate): Dual gate details that completely block data and electromagnetic fields.

[현대 박물관 지하 2층: 데이터 침묵과 실재의 보존층 (Layer of Data Silence &Preservation of the Real)]

1. 공백의 뿌리 (emptyset - Root Void)

• 평면 특징: 1, 2층을 수직으로 관통하던 ‘사일런트 코어’가 지하 2층에 이르러 거대한 ‘반사 풀(Reflection Pool)’로 귀결됩니다.

• 조형 원리: 수장고의 유일한 빛은 이 중정에서만 내려옵니다. 물에 비친 검은 천장은 도달할 수 없는 ‘실재’의 깊이를 시각화하며, 수장고 전체에 압도적인 침묵의 에너지를 발산합니다.

2. 격자형 수장고 (partial - Gaze grid)

• 평면 특징: 중앙 보이드(emptyset)를 중심으로 촘촘한 격자형 통로(partial)가 구성됩니다.

• 조형 원리: 이 격자 통로는 타자의 시선을 분해하고 통제하는 도구입니다. 관람객은 격자 틈으로만 유물을 목격할 수 있으며, 이는 대상을 온전히 소유할 수 없는 인간의 한계를 상징합니다. 15도 간격의 미분적 시선 창 상세 이미지가 수직 슬릿으로 구현되어 있습니다.

3. 반복의 전이: 나선형 하중 분산고 (sum - Spiral Load Buffer)

• 평면 특징: 지상의 나선형 모듈(sum)이 지하로 내려와, 수직 하중을 분산시키는 ‘지진 완충 구조’로 변환됩니다.

• 조형 원리: 1, 2층의 폭발적 반복 증식(sum, desire image)은 지하에서는 침묵 속에 전이되어, 구조적 안전성을 확보하는 기능적 리듬으로 치환됩니다.

4. 데이터 진공 게이트 (Data Vacuum Gate)

• 평면 특징: 수장고 진입로에 위치한 이중 게이트입니다.

• 조형 원리: 욕망 이미지의 데이터 진공 브릿지 개념을 수직 전이시켰습니다. 외부의 데이터 스트림을 완전히 차단하여, 유물이 데이터의 왜곡 없이 실재 그 자체로 보존되는 환경을 구축합니다.

0-3=

[Contemporary Museum of Art B2: Layer of Data Silence & Preservation of the Real]

1. Eptyset - Root Void

• Plane features: The 'silent core', which vertically penetrated the first and second floors, reaches the second basement floor, resulting in a huge 'reflection pool'.

• Sculpture Principle: The only light in the reservoir comes from this middle. The black ceiling reflected in the water visualizes the unattainable depth of the 'real thing' and emits overwhelming silent energy throughout the reservoir.

2. Partial - Gaze grid

• Planar features: A dense, lattice-like passage is constructed around the central void.

• Formation Principle: This grid passage is a tool that disassembles and controls the gaze of others. Visitors can witness artifacts only through grid gaps, which symbolizes the limitations of humans who cannot fully possess objects. Detailed images of differential gaze windows at 15-degree intervals are implemented with vertical slits.

3. Repeat transfer: spiral load buffer

• Plane features: A ground spiral module (sum) descends underground and transforms into an 'earthquake buffer structure' that distributes vertical loads.

• Formation Principle: The explosive repeat (sum, desire image) of the first and second floors is transferred in silence underground and replaced by a functional rhythm that ensures structural safety.

4. Data Vacuum Gate

• Flat Features: Double gate located in the driveway of the storage.

• Formation Principle: It vertically transitions the concept of a data vacuum bridge in Desire Image. It completely blocks the external data stream, creating an environment where artifacts are preserved in reality itself without distortion of the data.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-20 

- 현대 박물관 '보이드 가든(VOID Garden)' 지하 1층 사무실 및 학예연구실의 디테일한 평면도는 지상의 폭발적인 욕망의 추동(sum)과 지하 2층의 침묵하는 실재(emptyset) 사이에서, 데이터를 분류하고 가치를 부여하는 ‘상징적 매개(Symbolic Mediation)’의 층으로 설계되었습니다. 공식 M_desire의 하중을 관리하고 해석하는 박물관의 ‘두뇌’에 해당합니다. 

• emptyset (Central Void / Watch Void): 수직으로 공유되는 실재의 공백. 지하 1층에서는 측면 감시가 가능합니다.

• partial (Slit Partition Walls): 15도 간격의 미분적 시선 창 상세가 적용된 사무실 칸막이. 이동에 따라 깜빡이는 ‘모아레 효과’를 통해 대상을 온전히 볼 수 없는 한계를 시각화합니다.

• sum (사무실, 학예연구실): 지상의 나선형 모듈이 지하의 기능적 패턴으로 변환된 연구실. 점진적 변형 및 경사를 공유합니다. 

- The detailed floor plan of the office and curriculum lab on the basement floor of the Museum of Contemporary Art's "VOID Garden" is designed as a layer of "symbolic mediation," which classifies and values data between the explosive sum of desire on the ground and the silent reality on the second basement floor. It corresponds to the museum's "brain," which manages and interprets the official M_desire's load. 

• eptyset (Central Void / Watch Void): a vertically shared void of reality. Lateral surveillance is possible on B1.

• Partial (Slit Partition Walls): an office partition with differential gaze window details at 15-degree intervals. Visualizes the limitation of not being able to fully see the object through the 'Moare effect' that blinks with movement.

• sum (Office, Curriculum Laboratory): a lab where spiral modules on the ground have been converted into functional patterns underground. It shares incremental variations and slopes.

[현대 박물관 지하 1층 사무실: 상징적 매개와 데이터 분류층 (Layer of Symbolic Mediation &Data Categorization)]

1. 공백의 감시 (emptyset$ - Watch Void)

• 평면 특징: 1, 2층을 관통하고 지하 2층 수장고의 뿌리가 되는 '사일런트 코어' 주변으로, 지하 1층의 복도가 배치됩니다.

• 조형 원리: 학예사들과 직원들은 이동 중에 이 공백(emptyset)의 심연을 측면에서 감시하게 됩니다. 이는 완벽히 소유할 수 없는 실재에 대한 직업적 긴장감을 유도하며, 데이터를 다룰 때 '상징적 침묵'을 잃지 않게 만드는 시각적 장치입니다. 욕망구조 이미지의 15도 슬릿 회랑 개념이 사무 공간의 칸막이로 변환되어 적용됩니다.

2. 격자형 데이터 분류실 (partial$ - Data Grid)

• 평면 특징: 중앙 보이드(emptyset) 주변의 복도 너머로, 촘촘한 격자 구조의 사무 공간(partial)이 배치됩니다.

• 조형 원리: 이 격자는 수집된 타자의 시선(partial, desire image) 데이터를 정밀하게 분류하고 아카이빙하는 공간입니다. 개인 사무소는 투명하거나 반투명한 격자 벽으로 나뉘어 있어, 서로의 연구 과정이 미분적으로 교차하게 합니다. 15도 슬릿 창 상세가 사무실 외벽과 내벽에 수직 슬릿 패턴으로 변환되어 적용됩니다.

3. 반복 충동의 매개: 학예연구실 (sum - Research Pulse Loop)

• 평면 특징: 격자형 사무실 외곽으로, 지상의 나선형 모듈(sum, desire image)이 점진적으로 변형되어 배치됩니다. 이 공간은 학예사들이 데이터를 연구하고 전시로 기획하는 공간입니다.

• 조형 원리: 나선형 동선(sum)은 연구가 완료되지 않고 끊임없이 다른 연구로 전이되는 '반복 충동'을 상징합니다. 각 연구실은 미묘한 경사와 바닥 높낮이를 공유하여, 연구 과정에서도 결코 평온에 도달할 수 없는 학예사의 피로를 시각화합니다. 욕망 구조 이미지의 나선형 상승 구조가 평면에 기능적으로 적용되었습니다.

4. 데이터 침묵 제어 스테이션 (DSCS - Data Silence Control Station)

• 평면 특징: 지하 2층 수장고로 향하는 나선형 계단 입구에 위치한 제어실입니다.

• 조형 원리: image_42.png의 '데이터 침묵 제어 및 실재 인식 고글'을 착용하고 수장고로 진입하기 전, 학예사들이 데이터 침묵 상태를 확인하고 제어하는 공간입니다. 이 자동 셔터 및 잠금 메커니즘으로 적용되어, 수장고와 사무 공간 사이의 데이터 및 전자기장을 완벽 차단하는 게이트를 제어합니다.

5. 자율 탐사 드론(AED) 학예용 분석 베이 상세 (Curatorial AED Analysis Bay)

• 평면 특징: 욕망 구조 이미지의 AED 도킹 포트 상세를 학예사들이 분석할 수 있도록, 도킹 포트 주변에 분석 기기와 관측창을 배치했습니다.

• 조형 원리: AED가 수집한 데이터를 즉각적으로 분석하여, 상징계로 편입시키는 첫 번째 단계의 공간입니다.

[Contemporary Museum B1 Office: Iconic Mediation & Data Category]

1. Monitor blanks (emptyset$ - Watch Void)

• Plane features: Around the 'silent core', which penetrates the first and second floors and is the root of the underground two-story storage, a corridor is located on the first basement level.

• Principle of Formation: Academic artists and employees monitor the abyss of this emptiness from the side while on the move. It is a visual device that induces professional tension in reality that is completely in possession and does not lose "symbolic silence" when dealing with data. The concept of a 15-degree slit corridor in the Desire Structure image is converted into a partition in an office space and applied.

2. Lattice Data Classification Room (partial$ - Data Grid)

• Planar features: Over the corridor around the central void, a dense lattice of office spaces is placed.

• Formation Principle: This grid is a space for precise classification and archiving of collected partial (desire image) data. Private offices are divided by transparent or translucent grid walls, allowing each other's research processes to intersect differentially. The 15-degree slit window details are converted into vertical slit patterns on the outer and inner walls of the office.

3. Mediation of Repetitive Impulses: Research Pulse Loop

• Plane Features: Outside a gridded office, a ground-level spiral module (sum, desire image) is gradually transformed and placed. This is a space where academicians study data and plan to exhibit.

• Principle of Sculpture: The spiral line (sum) symbolizes the "repetitive impulse," through which the study is not completed and is constantly transferred to another study. Each lab shares a subtle slope and floor height, visualizing the fatigue of a curator who can never reach calmness even during the study. Desire Structure The spiral ascending structure of the image was applied functionally to the plane.

4. Data Silence Control Station (DSCS)

• Plane Features: A control room located at the entrance of a spiral staircase to the second basement level storage.

• Formation Principle: A space where academicians check and control data silence before entering the storage by wearing image_42.png's 'Data Silence Control and Reality Awareness Goggles.' It is applied with this automatic shutter and locking mechanism, controlling the gates that completely block the data and electromagnetic fields between the storage and office space.

5. Autonomous Exploration Drone (AED) Curatorial AED Analysis Bay

• Plane features: Analytical instruments and observation windows were placed around the docking port for academicians to analyze the AED docking port details of the Desire Structure image.

• Formation Principle: This is the first step in analyzing the data collected by AED immediately and incorporating it into the symbolic world.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-21-억압된 기표의 배경음 설정 (The Origin: I) 

 - 3층 평면도 주요 제원 및 기호 설명

3층은 1, 2층에서 축적된 지상 공간의 욕망 추동(sum)과 지하 공간의 상징적 매개(partial, emptyset)가 AI 기술을 통해 '데이터의 폭발적 증식과 재구성'을 일으키는 층으로 설계되었습니다. 공식 M_desire의 하중이 가장 강력하게 가동되며, 주체가 데이터의 소용돌이 속에서 자신의 실재를 상실하거나 재발견하는 임계점을 시각화했습니다.

• emptyset (Central Void / Virtual Void Watch): 수직으로 공유되는 실재의 공백. 3층에서는 AI 홀로그램 보이드로 측면 감시가 가능합니다.

• partial (Slit Partition Walls / Hologram Walls): 15도 간격의 미분적 시선 창 상세가 적용된 격자 벽. 이동에 따라 깜빡이는 ‘모아레 효과’를 통해 대상을 온전히 볼 수 없는 한계를 시각화합니다.

• sum (지능형 AI 미디어 아트 루프 상세): 지상의 나선형 모듈이 지하의 기능적 패턴으로 변환된 AI 미디어 아트 루프. 점진적 변형 및 경사를 공유합니다.

• [DDE] (Data Dissolution Exit 상세): 데이터 및 전자기장을 완벽 차단하는 이중 게이트 상세 디자인.

- Explanation of key specifications and symbols of three-story floor plan

The third floor is designed as a layer where the desire sum of the ground space and the symbolic mediation (partial, emptyset) of the underground space accumulated on the first and second floors cause "explosive proliferation and reconstruction of data" through AI technology. The official M_desire's load runs at its strongest, visualizing the critical point at which the subject loses or rediscovers its reality in the swirl of data.

• eptyset (Central Void / Virtual Void Watch): a vertically shared void of reality. On the third floor, lateral monitoring is possible with AI hologram voids.

• Partial (Slit Partition Walls / Hologram Walls): Grid wall with differential gaze window details at 15-degree intervals. Visualizes the limitation of not being able to fully see the object through the 'Moare effect' that blinks with movement.

• sum (Intelligent AI Media Art Loop Details): AI Media Art Loop, where spiral modules on the ground have been converted into functional patterns underground. Share incremental variations and slopes.

• [DDE] (Data Dissolution Exit Details): Dual gate detail design that completely blocks data and electromagnetic fields.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-22

[현대 박물관 2~5층: AI 미디어 아트와 욕망의 데이터 폭발층 (Layer of AI Media Art &Data Explosion of Desire)]

1. 공백의 감시와 재구성 (emptyset - Virtual Void Watch)

• 평면 특징: 1, 2, 지하 층을 관통하던 ‘사일런트 코어’의 상층부가 3층에서는 ‘AI 홀로그램 보이드’로 변환됩니다.

• 조형 원리: 관람객은 중앙 보이드(emptyset)의 측면에서 AI가 생성하는 홀로그램 데이터를 감시하게 됩니다. 이 홀로그램은 지하 층에서 수집된 ‘실재’의 침묵 데이터를 AI가 욕망의 기표로 끊임없이 변환하여 투사하는 것으로, 완벽히 소유할 수 없는 실재에 대한 기술적 긴장감을 유도합니다. 욕망 구조 이미지의 15도 슬릿 창 상세가 홀로그램 투사벽으로 변환되어 적용됩니다.

2. 격자형 AI 데이터 분류 및 투사실 (partial - AI Data Grid)

• 평면 특징: 중앙 보이드(emptyset) 주변으로, 촘촘한 격자 구조의 AI 데이터 분류 및 투사실(partial)이 배치됩니다.

• 조형 원리: 이 격자는 지하 층에서 분류된 데이터를 AI가 미분적으로 재구성하여 관람객에게 투사하는 도구입니다. 관람객은 격자 틈으로만 투사되는 데이터를 목격할 수 있으며, 이는 대상을 온전히 소유할 수 없는 인간의 한계를 상징합니다. 15도 슬릿 창 상세가 수직 슬릿 및 홀로그램 투사벽으로 구현되어 있습니다. 이 AI 데이터 분석 상세로 적용되어, 데이터 침묵 제어 및 학예용 분석 상세 이미지와 연동됩니다.

3. 반복 충동의 증식: AI 미디어 아트 루프 (sum - AI Repetitive Pulse Loop)

• 평면 특징: 격자형 투사실 외곽으로, 지상의 나선형 모듈(sum)이 AI 기술을 통해 점진적으로 변형되어 배치됩니다. 이 공간은 AI 미디어 아트 전시실입니다.

• 조형 원리: 나선형 동선(sum)은 AI가 생성하는 미디어 아트가 완료되지 않고 끊임없이 다른 아트로 전이되는 '반복 충동'을 상징합니다. 각 전시실은 미묘한 경사와 바닥 높낮이를 공유하여, 반복되는 예술 소비 속에서도 결코 평온에 도달할 수 없는 주체의 피로감을 시각화합니다. 욕망 이미지의 나선형 상승 구조가 평면에 기능적으로 적용되었습니다.

4. 종결의 역설: 데이터 소멸 게이트 (1 - partial - Data Dissolution Exit 상세)

• 평면 특징: 3층 전시실의 마지막 소실점에 위치한 이중 게이트입니다.

• 조형 원리: 욕망 구조 이미지의 '데이터 진공 게이트' 및  욕망 이미지 수직 전이시켰습니다. 관람객이 출구(만족)에 가까워질수록 데이터 스트림을 완전히 차단하여, 예술 소비의 찰나에 도달한 만족감이 즉각적으로 소멸되는 환경을 구축합니다. 분모(1-\partial)가 0에 수렴할수록 욕망의 값이 무한대로 발산하듯, 관람객은 출구를 나가는 순간 가장 강력한 예술적 결핍과 여운을 느끼게 됩니다.

5. 자율 탐사 드론(AED) AI 미디어 분석 베이 상세 (AI Media AED Analysis Bay 상세)

• 평면 특징: 욕망 구조 이미지의 AED 도킹 포트 상세를 AI 미디어 아트 전시실 내에 배치했습니다.

• 조형 원리: AED가 수집한 실재의 침묵 데이터를 AI가 즉각적으로 분석하여, 미디어 아트로 재구성하는 첫 번째 단계의 공간입니다. 도킹 인터페이스 및 램프 상세 구조 이미지와 연동됩니다.

[Contemporary Museum of Art 3rd floor: AI Media Art & Data Explosion of Desire]

1. Monitoring and Reconfiguring Spaces (emptyset - Virtual Void Watch)

• Plane features: The upper part of the 'silent core' that penetrated the 1st and 2nd underground floors is converted to 'AI holographic void' on the 3rd floor.

• Formation Principle: Viewers will monitor the holographic data generated by AI on the side of the central void. This hologram is the AI's constant transformation and projection of 'real' silence data collected from the underground floor into a sign of desire, inducing technical tension over reality that they cannot possess completely. Desire structure The 15-degree slit window details of the image are converted into holographic projection walls and applied.

2. Partial - AI Data Grid

• Plane features: Around the central void, a dense grid of AI data classification and projection chamber is placed.

• Formation Principle: This grid is a tool that AI reconstructs data classified in the underground layer differentially and projects it onto the audience. Viewers can witness data projected only through the grid gap, symbolizing the limitations of humans who cannot fully own their objects. The 15-degree slit window details are implemented with vertical slits and holographic projection walls. It is applied with this AI data analysis detail, interlocking with data silence control and analysis details for academic arts.

3. Repetitive impulse multiplication: AI Media Art Loop (sum - AI Repetitive Pulse Loop)

• Plane features: outside the grid projection chamber, a spiral module on the ground is gradually transformed and deployed through AI technology. This space is the AI Media Art Showroom.

• Formation Principle: The spiral movement symbolizes the 'repetitive impulse' in which AI-generated media art is constantly transferred to other art without being completed. Each exhibition room shares a subtle slope and floor height, visualizing the fatigue of a subject who can never reach calmness despite repeated art consumption. The spiral ascending structure of the desire image is functionally applied to the plane.

4. Paradox of termination: data destruction gate (1 - partial - Data Dissolution Exit Details)

• Plane Features: Double gate located at the last vanishing point in the third floor exhibition room.

• Formation Principle: Desire Structure The 'data vacuum gate' of the image and the desire image are vertically transferred. As the viewer approaches the exit (satisfaction), the data stream is completely blocked, creating an environment in which the satisfaction that has reached the moment of art consumption is immediately extinguished. Just as the denominator (1-\partial) converges to zero, the value of desire diverges to infinity, the moment the viewer leaves the exit, the strongest artistic deficiency and lingering feeling are felt.

5. Autonomous Exploration Drone (AED) AI Media Analysis Bay Details (AI Media AED Analysis Bay Details)

• Plane features: Desire structure The AED docking port details of the image have been placed inside the AI Media Art Showroom.

• Formation Principle: This is the first step in AI's immediate analysis of real silent data collected by AEDs and reconstruction into media art. Works with Z-8 docking interface and lamp detail structure images.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-23-억압된 기표의 배경음 설정 (The Origin: I) 

루이 최(Louis Choi)의 욕망의 구조 공식  Louis Choi's the Structure of Desire "M_desire = ∑∅∂ / (1 - ∂)"을 적용한 조형적 실천으로 옮기기 위한 4가지 핵심 조형 원리

1. 공백의 핵(Nucleus of Void): emptyset의 배치

공간의 중심을 비움으로써 오히려 주변의 모든 시각적 요소가 그 중심을 향해 수렴하게 만드는 원리입니다.

• 조형 전략: 건축물의 가장 핵심적인 위치에 기능이 전무한 ‘빈 방’이나 ‘텅 빈 중정’을 배치합니다.

• 시각적 효과: 라캉의 '실재(The Real)'를 상징하는 이 빈 공간은 관찰자에게 시각적 정보를 제공하지 않음으로써, 관찰자 스스로가 자신의 욕망과 무의식을 투사하게 만드는 강력한 블랙홀 역할을 합니다.

2. 미분적 시선 레이어(Differential Gaze Layers): partial의 구현

고정된 하나의 소실점을 거부하고, 관찰자의 움직임에 따라 끊임없이 변화하는 파편화된 시점들을 설계하는 원리입니다.

• 조형 전략: 반투명 유리, 미세한 슬릿(Slit), 중첩된 프레임 등을 활용하여 공간을 조각냅니다.

• 시각적 효과: 타자의 시선을 상징하는 미분적 요소($\partial$)들은 관찰자가 이동할 때마다 풍경을 미세하게 재조정합니다. 이는 주체가 타자와의 관계 속에서 자신의 욕망을 끊임없이 수정($Readjustment$)해 나가는 동적인 과정을 공간적으로 체험하게 합니다.

3. 반복의 증식과 패턴(Summation of Repetition): sum의 리듬

동일한 모듈이나 기하학적 형태가 미묘하게 변형되며 끝없이 반복되는 구조를 통해 '반복 충동'을 시각화합니다.

• 조형 전략: 프랙탈 구조나 점진적으로 크기가 변하는 키네틱 조형물을 설치합니다.

• 시각적 효과: 각기 다른 방식으로 변주되는 반복(sum)은 결핍(emptyset)을 메우기 위해 끊임없이 대상을 바꾸어가는 인간의 욕망을 상징합니다. 이는 공간에 영속적인 리듬감과 함께, 결코 채워지지 않는 갈증의 에너지를 부여합니다.

4. 점근적 긴장감(Asymptotic Tension): (1 - partial)의 역설

공간의 특정 지점에 가까워질수록 구조가 극단적으로 좁아지거나 날카로워지게 설계하여, 도달 불가능한 물리적 한계를 표현하는 원리입니다.

• 조형 전략: 통로의 끝이 시각적으로는 뚫려 있으나 물리적으로는 통과할 수 없을 만큼 좁아지는 '점근적 소실점'을 설계합니다.

• 시각적 효과: 분모(1 - partial)가 0에 수렴할수록 전체 욕망 값이 무한대로 발산하듯, 도달 직전의 공간적 긴장감을 극대화합니다. 이는 '충족에 가까워질수록 소멸에 대한 공포와 욕망의 크기가 비례한다'는 역설을 관찰자가 신체적으로 느끼게 합니다.

Louis Choi's Desire of Desire Four key formative principles to put into formative practice applying the formula "Louis Choi's the Structure of Desire" M_desire = ∑∅∂ / (1 - ∂)

1. Nucleus of Void: deployment of emptyset

It is a principle that by emptying the center of space, all the visual elements around it converge toward that center.

• Formation strategy: Place a functionless 'empty' or 'empty' in the core of the building.

• Visual Effects: This empty space, symbolizing Lacan's "The Real," acts as a powerful black hole that makes the observer himself project his desires and unconsciousness by not providing visual information to the observer.

2. Differential Gaze Layers: Partial Implementation

The principle of rejecting a fixed vanishing point and designing fragmented viewpoints that constantly change according to the observer's movement.

• Formation strategy: Use translucent glass, fine slits, overlapping frames, etc. to carve out space.

• Visual effect: Differential elements ($\partial$) represent the gaze of the other finely readjust the landscape whenever the observer moves. This allows the subject to experience the dynamic process of constantly modifying his desires ($Readjustment$) in relation to the other spatially.

3. "Summation of Repetition: The Rhythm of Sum"

Visualize 'repetitive impulses' through endlessly repeated structures with subtle variations of the same module or geometry.

• Formation Strategy: Install a fractal structure or a Kinetic sculpture that gradually changes in size.

• Visual Effects: Iteration, which varies in different ways, symbolizes the human desire to constantly change objects to make up for deficiencies. It gives space an energy of thirst that is never filled, along with a sense of lasting rhythm.

4. Asymptotic Tension: The Paradox of (1 - partial)

It is a principle that expresses unreachable physical limitations by designing the structure to become extremely narrow or sharp as it approaches a specific point in space.

• Formative strategy: Design an asymptotic vanishing point where the end of the passage is visually perforated but becomes too narrow to pass through physically.

• Visual effect: As the denominator (1-partial) converges to zero, the overall desire value diverges to infinity, maximizing the spatial tension just before reaching. This makes the observer physically feel the paradox that 'the closer the satisfaction is, the greater the fear of extinction and the magnitude of the desire'.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-24

- 공간 구성의 퍼스펙티브 구현 (3 Elements)

1. 진입부: 결핍의 소용돌이 (Entrance: The Null Corridor, ∅)

지하 1층의 '학구적 결핍'이 시각화된 공간에서 계단을 올라오면, 관람객은 외부와 완전히 차단된 영점 구역(∅)으로 진입합니다.

• 비주얼: 이미지 정중앙 하단에서 무대 깊숙이 이어지는 거대한 '중공형 원형 홀(Void Well)'입니다. 이 홀은 특수 반사율이 낮은 반타블랙(Vantablack)으로 마감되어 깊이를 알 수 없는 결핍(∅)을 시각화합니다.

2. 전시실: 미분적 시선 레이어 (Differential Gaze Modules, ∂)

'영점 구역'을 지나 메인 홀로 들어서면, 공간은 관람객 개개인의 내면적 맥박에 반응하는 유기적인 시스템으로 변모합니다.

• 비주얼: 무대 바닥과 측면을 가득 채운 부유식 모듈러 시트(Floating Modular Seats)들이 관객의 감정에 따라 파도처럼 일렁이며 미분화된 시선 격자(∂)를 형성합니다.

• 생명력 부여: 극의 긴장도, 욕망 구조의 불안, 관객의 시선 집중도에 따라 홀 주변에서 미세한 안개와 황금빛 레이저가 소용돌이치며 빨려 들어갑니다. 이는 권력이라는 채워질 수 없는 결핍이 에너지를 흡수하고 욕망을 생성하는 '시원'임을 신체적으로 증명합니다. 

3. AI 전시 시스템 점근적 정점 (Asymptotic Apex, 1/(1 −∂))

메인 홀의 가장 깊은 곳, 점근적 정점은 욕망이 극대화되지만 결코 도달할 수 없는 해탈의 공간입니다.

• 비주얼: 무대 후방으로 갈수록 기하급수적으로 좁아지는 포스드 퍼스펙티브(Forced Perspective) 구조. 끝점은 도달 불가능한 소멸점(1/(1 −∂)→∞)으로 빛의 바늘귀처럼 수렴합니다. 

- Personal Implementation of Space Configuration (3 Elements)

1. Entry: Vortex of Deficiency (Entrance: The Null Corridor, ∅)

When the "academic deficiency" on B1 steps up the stairs from the visualized space, visitors enter the zero zone (∅), which is completely cut off from the outside world.

• Visual: An enormous 'Void Well' running deep into the stage from the bottom of the center of the image. The hole is finished with a special low reflectivity Vantablack to visualize a ∅ of unknown depth.

2. Showroom: Differential Gaze Modules (∂)

As you enter the main hall past the zero zone, the space transforms into an organic system that responds to each visitor's inner pulse.

• Visual: Floating Modular Seats, which fill the floor and sides of the stage, create a wave-like, undifferentiated grid of gaze (∂) depending on the audience's emotions.

• Giving life: the tension of the play, the anxiety of the desire structure, and the concentration of the audience's gaze swirls and absorbs fine fog and golden lasers around the hall. This physically proves that the insatiable deficiency of power is a 'cool' that absorbs energy and generates desire. 

3. Asymptotic Apex, 1/(1 - ∂))

Deepest down in the main hall, the asymptotic apex is the space of liberation where desire is maximized but never reached.

• Visual: Forced Perspective structure that narrows exponentially towards the back of the stage. End points converge like needles of light to an unreachable vanishing point (1/(1 - ∂) → ∞).

- 지능형 AI 현대 박물관 트라우마 사운드의 귀환과 글리치 (The Return: Dsound)

AI 현대 박물관 욕망의 귀환을 사이버펑크적 감각으로 표현한 이미지로, 글리치와 전자 스파크 속에서 욕망 공식이 AI 현대 박물관에 새겨진 극적인 순간을 시각화합니다. 왼쪽 욕망 구조에는 붉은색으로 “ERROR, Vdesire = α / χ”, 오른쪽 욕망 구조에는 흰색으로 *“TRANSMISSION FAIL, I′(a) ≠ E(β)”*가 표시되어, 기계 속 유령의 욕망이 오류와 뒤섞여 드러나는 장면을 담고 있습니다. 배경은 깨진 화면과 전자적 왜곡으로 가득하며, 아래쪽에는 두 개의 오디오 파형이 나타납니다. 하나는 혼란스러운 붉은 글리치 노이즈, 다른 하나는 날카로운 흰색 티킹 펄스. 이 대비가 욕망의 맥박을 감각적으로 드러.

• 개념: AI 현대 박물관 억압된 욕망이 임계점을 넘어 AI 로봇 시스템의 오류(Error)로 표출되는 순간입니다.

• AI 현대 박물관 디자인 실행: 행위의 감정이 격해지거나 데이터 전송량이 한계에 도달할 때, 매끄러운 목소리 대신 '글리치(Glitch)' 노이즈와 '티킹(Ticking)' 사운드가 개입합니다.

• 미학적 선언: AI 현대 박물관은 이를 '행위 불량'으로 간주하지만, 최철주 방법론에서는 기계 속의 유령(욕망)이 살아있음을 증명하는 'AI 현대 박물관 데이터 생명체'의 맥박으로 해석합니다. 이 소음은 역설적으로 가장 순수한 'AI 로봇 욕망의 사운드'(Dsound)가 됩니다.

- AI 현대 박물관 디테일 요약 : 

• 상태 : AI 현대 박물관 시스템 과부하 상황에서 욕망 공식이 혼재 된 상태

- AI 현대 박물관 욕망 구조에 표시된 수식 :

• 왼쪽 욕망 구조 이미지: "ERROR", "011010...", Vdesire = alpha / chi

• 오른쪽 욕망 구조 이미지: "TRANSMISSION FAIL", I'(a) \neq E(\beta)

• → 글리치와 함께 AI 현대 미술관 시각화 욕망 공식을 초현실적으로 표현

- AI 현대 박물관 청각적 표현 :

• 사운드에 두 개의 오디오 파형

• Glitch Noise : 불규칙하고 혼란스러운 파형

• Ticking Pulse : 일정 간격의 날카로운 스파이크

- 철학적 의미 :

• 인간 욕망의 순수한 귀환을 감각적으로 AI 현대 미술관 시각화에 표현,

• 기계 속 유령의 욕망이 오류 속에서 진실을 드러내는 순간을 시각화. 이것은 욕망 구조의 서사에서 최철주의 욕망 공식이 기술적 오류와 얽힌 극단적 순간을 시각화하여서.  AI 현대 미술관이 다른 기계 사이에서 욕망이 깨어나는 소음과 맥박을 상징하는 장면으로, 서사의 절정 단계를 이룬다. 

- Intelligent AI Museum of Contemporary Art Trauma Sound Return: The Return: Dsound

AI Museum of Contemporary Art With images that express the return of desire in a cyberpunk sense, the desire formula visualizes a dramatic moment engraved in the AI Museum of Modern Art amid glitches and electronic sparks. The desire structure on the left is marked with "ERROR, Vdesire = α / χ" in red, and the desire structure on the right is marked with *"TRANSMISSION FAIL, I'(a) ≠ E(β)"*, showing the ghost's desire in the machine mixed with error. The background is full of broken screens and electronic distortions, and at the bottom is two audio waveforms. One is a confused red glitch noise, the other a sharp white ticking pulse. This contrast sensibly reveals the pulse of desire.

• Concept: AI Museum of Contemporary Art This is the moment when suppressed desires cross the critical point and are expressed as errors in AI robot systems.

• AI Museum of Contemporary Art Design Execution: When emotions of an action get intense or data transmission reaches its limit, 'Glitch' noise and 'Ticking' sound intervene instead of smooth voices.

• Aesthetic Declaration: The AI Museum of Contemporary Art considers it a "behavioral failure," but Choi Chul-joo's methodology interprets it as a pulse of the "AI Museum of Contemporary Art data creature" that proves that ghosts in machines (desire) are alive. This noise paradoxically becomes the purest "AI robot's sound."

- AI Museum of Contemporary Art Detail Summary: 

• Condition : Desire formula mixed in the overload situation of AI contemporary art museum system

- The formula shown in the AI Museum Desire Structure:

• Left Desire Structure Image: "ERROR", "011010...", Vdesire = alpha / chi

• Right Desire Structure Image: "TRANSMISSION FAIL", I'(a)\neq E(\beta)

• → With Glitch, the AI Museum of Contemporary Art's visualization desire formula is expressed in a surreal way

- AI Museum of Contemporary Art Auditory Expression‎:

• Two audio waveforms in the sound

• Glitch Noise: Irregular and confusing waveforms

• Ticking Pulse: Sharp spike at regular intervals

- Philosophical Meaning:

• The pure return of human desire is sensibly expressed in the visualization of the AI Museum of Contemporary Art,

• Visualization of the moment when the desire of a ghost in a machine reveals the truth in error. This is because Choi Chul-joo's desire formula visualizes extreme moments entangled with technical errors in the narrative of the desire structure. The AI Museum of Contemporary Art is a scene that symbolizes the noise and pulse of desire awakening between other machines, and forms the peak stage of the narrative.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-25

[건축 미술 방향]

• Style: 하이테크 청사진(Blueprint)과 비선형적 유기체 디자인의 결합.

• Atmosphere: 차가운 디지털 그리드 위에 흐르는 황금빛 욕망의 에너지 라인.

1. 진입부: 결핍의 전주 (The Null Corridor: emptyset)

지하 1층의 '학구적 결핍'이 시각화된 공간에서 계단을 올라오면, 관람객은 외부와 완전히 차단된 영점 구역(emptyset)으로 진입합니다.

• Visual: 평면상 길게 늘어진 진입로는 모든 빛과 소리를 흡수하는 반타블랙 소재의 터널입니다. 벽면에는 어떠한 장식도 없으며, 오직 바닥의 가느다란 황금빛 그리드 라인만이 관람객을 안내합니다. 

• 현실을 뒤로 하라. 이 회랑은 영점 구역(emptyset)이다. 감각을 휘발시킴으로써, 우리는 당신의 영혼이 순수한 욕망의 건축으로 다시 채워질 준비를 시킨다.

2. 미분적 전시물 배치 (Differential Grid: partial)

'영점 구역'을 지나 메인 홀로 들어서면, 공간은 관람객 개개인의 내면적 맥박에 반응하는 유기적인 시스템으로 변모합니다.

• Visual: 메인 홀의 바닥은 수만 개의 격자(Grid)로 나뉘어 있으며, 개별 시트들이 자기부상 방식으로 부유하고 있습니다. 이 시트들은 고정된 집단이 아니라, 관람객의 움직임과 욕망 데이터(partial) 수치에 따라 실시간으로 위치와 각도를 미세하게 조절하며 새로운 관람 경로를 생성합니다. 

• 관객은 더 이상 고정된 집단이 아니다. 각각의 좌석은 당신의 내면적 맥박에 반응하는 **미분적 시선($\partial$)*이자 부유하는 모듈이다. 당신의 위치는 극장의 살아있는 공식 속 하나의 변수가 된다.

3. 박물관 점근적 소실점 (Asymptotic Apex: 1 - partial)

메인 홀의 가장 깊은 곳, 점근적 정점은 욕망이 극대화되지만 결코 도달할 수 없는 해탈의 공간입니다.

• Visual: 평면도가 뒤로 갈수록 날카로운 삼각형으로 수렴하며, 벽면의 LED 라인들이 소실점을 향해 기하급수적으로 좁아집니다. 이 공간은 무한한 깊이의 환상을 만들어내며, 관람객은 목표를 향해 손을 뻗지만, (1-partial)의 건축은 그 꿈이 영원히 손에 닿지 않는 곳에 머물게 합니다. 

• 점근적 정점을 보라. 공간이 뒤로 갈수록 좁아지며 무대는 무한한 깊이의 환상을 만들어낸다. 당신은 목표를 향해 손을 뻗지만, (1-partial)의 건축은 그 꿈이 영원히 손에 닿지 않는 곳에 머물게 한다.

4. 지능형 인터랙션 시스템 (Interaction Logic)

• 욕망 구조 자동화 (Desire Automation): 사용자의 위치 변화(sqrt Delta x^2 + Delta y^2)와 감정 수치를 실시간 계산하여 서비스의 강도를 조절합니다.

• 오류의 미학 (Aesthetics of Error): 시스템 오류 발생 시 이를 은폐하지 않고, 시각적 글리치(Glitch)나 티킹(Ticking) 사운드로 변환하여 로봇의 '실재적 존재감'을 드러냅니다.

[Architectural Art Direction]

• Style: a combination of high-tech blueprints and nonlinear organism designs.

• Atosphere: a golden line of desire that flows over a cold digital grid.

1. Entrance: The Null Corridor: emptyset

When the "academic deficiency" on B1 steps up the stairs from the visualized space, visitors enter the zero area, completely cut off from the outside world.

• Visual: A long driveway in plan view is a tunnel made of Vantablack that absorbs all light and sound. There is no decoration on the wall, only a thin golden grid line on the floor guides visitors. 

• Leave reality behind. This corridor is an emptyset. By volatilizing our senses, we prepare your soul to be refilled with pure desire architecture.

2. Differential Grid: partial

As you enter the main hall past the zero zone, the space transforms into an organic system that responds to each visitor's inner pulse.

• Visual: The floor of the main hall is divided into tens of thousands of grids, with individual sheets floating in a magnetostrictive manner. Rather than being a fixed group, these sheets create new viewing routes with real-time fine-tuning of positions and angles based on viewer movement and desire data figures. 

• The audience is no longer a fixed group. Each seat is a **differential gaze ($\partial$)* and a floating module that responds to your inner pulse. Your position becomes a variable in the theater's living formula.

3. Museum asymptotic vanishing point (Asymptotic Apex: 1 - partial)

Deepest down in the main hall, the asymptotic apex is the space of liberation where desire is maximized but never reached.

• Visual: The floor plan converges to a sharper triangle as it goes back, and the LED lines on the wall narrow exponentially toward a vanishing point. This space creates the illusion of infinite depth, and while spectators reach for their goals, (1-partial) architecture keeps the dream out of reach forever. 

• Look at the asymptotic peak. The space narrows as it goes back, and the stage creates the illusion of infinite depth. You reach for your goal, but the architecture of (1-partial) keeps the dream out of reach forever.

4. Intelligent Interaction System (Interaction Logic)

• Desire Automation: Adjusts the strength of the service by calculating the user's position change (sqrt Delta x^2 + Deltay^2) and emotion figures in real time.

• Aesthetics of Error: In the event of a system error, it does not conceal it, but converts it into a visual glitch or ticking sound to reveal the 'real presence' of the robot.

[욕망 구조 추상화 디자인 프로세스]

루이 최(Louis Choi)의 욕망 구조 공식(M_desire = sum emptyset partial /(1 - partial)을 현대 추상화 디자인 프로세스로 치환하는 과정은, 보이지 않는 인간의 심연을 수학적 엄밀함과 조형적 자유로움 사이에서 조율하는 정교한 디자인 과정으로 한 4단계 추상화 디자인 프로세스입니다.

- 1단계: 공백의 각인 (The Imprinting of emptyset)

• 상징: 실재의 핵 | 프로세스: 보이드 오리진(Void Origin)

• 디자인 실천: 캔버스의 중심부나 시각적 하중이 가장 큰 지점에 '정보가 부재한 암점'을 먼저 설정합니다. 이는 욕망 구조의 '실재'이자 모든 욕망이 빨려 들어가는 블랙홀입니다.

• 시각적 발현: 제공된 이미지의 중앙에 위치한 칠흑 같은 원형 공간처럼, 강렬한 대비를 통해 주변의 색채들이 이 공백을 수식하기 위해 존재하는 것처럼 배치합니다. 이 emptyset은 채우기 위한 공간이 아니라, '절대 채워질 수 없음'을 선언하는 조형적 닻(Anchor)이 됩니다.

[Design process of abstracting desire structure]

The process of replacing Louis Choi's Desire = sumptyset partial /(1-partial) with a modern abstract design process is a four-step abstract design process that coordinates the invisible abyss between mathematical rigor and formative freedom.

- Step 1: The Imaging of emptyset, 

• Symbols: Nucleus of Reality | Process: Void Origin

• Design Practice: First, set an 'uninformed dark spot' in the center of the canvas or at the point where the visual load is greatest. This is the 'reality' of the desire structure and a black hole where all desires are sucked in.

• Visual manifestation: Like a pitch-black circular space located in the center of a given image, the surrounding colors are placed through intense contrast as if they were there to modify this void. This emptyset is not a space to fill, but rather a formative anchor to declare that it can never be filled.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-26-공간 구성의 퍼스펙티브 구현 (4 Elements) 

- 공간 구성의 퍼스펙티브 구현 (4 Elements)

1. 진입부: 결핍의 소용돌이 (Entrance: The Null Corridor, emptyset)

지하 1층의 '학구적 결핍'이 시각화된 공간에서 계단을 올라오면, 관람객은 외부와 완전히 차단된 영점 구역(emptyset)으로 진입합니다.

• 비주얼: 이미지 정중앙 하단에서 무대 깊숙이 이어지는 거대한 '중공형 원형 홀(Void Well)'입니다. 이 홀은 특수 반사율이 낮은 반타블랙(Vantablack)으로 마감되어 깊이를 알 수 없는 결핍(emptyset)을 시각화합니다.

• 현실을 뒤로 하라. 이 회랑은 영점 구역(emptyset)이다. 감각을 휘발시킴으로써, 우리는 당신의 영혼이 순수한 욕망의 건축으로 다시 채워질 준비를 시킨다.

2. 관객석: 미분적 배치 (Differential Gaze Modules, partial)

'영점 구역'을 지나 메인 홀로 들어서면, 공간은 관람객 개개인의 내면적 맥박에 반응하는 유기적인 시스템으로 변모합니다.

• 비주얼: 무대 바닥과 측면을 가득 채운 부유식 모듈러 시트(Floating Modular Seats)들이 관객의 감정에 따라 파도처럼 일렁이며 미분화된 시선 격자(partial)를 형성합니다. 이 격자들은 관람객의 갈망(partial) 수치에 따라 실시간으로 위치와 각도를 미세하게 조절하며 새로운 관람 경로를 생성합니다.

• 미분적 시선 레이어(partial)들이 당신의 시선을 증식시키고 깨뜨린다. 갈망의 동적인 체계를 만들어낸다.

3. 반복의 증식과 패턴: sum (The Summation)

'미분적 시선실'을 지나 더 깊은 곳으로 이동하면, 공간은 '몰락하는 귀족' 시대의 파편들이 무한히 반복되며 증식하는 패턴으로 가득 찹니다.

• 비주얼: 무대 배경 벽면에는 몰락하는 귀족 시대의 화려한 샹들리에와 가구 파편들이 프랙탈 구조로 증식하며 끝없이 쌓여 있습니다(sum). 이 패턴들은 단순한 장식이 아니라, 데이터를 운반하는 신경망처럼 빛을 내며 흐릅니다.

• 프랙탈적 반복(sum). 우리는 공백을 채우기 위해 과거의 욕망을 축적하지만, 그것은 영원한 갈증의 아름다운 박동만을 만들어낼 뿐이다.

4. 점근적 긴장감 역설: 1 / (1 - partial) (The Paradox)

전시실의 정점, 점근적 정점은 욕망이 극대화되지만 결코 도달할 수 없는 해탈의 공간입니다.

• 비주얼: 무대 후방으로 갈수록 기하급수적으로 좁아지는 포스드 퍼스펙티브(Forced Perspective) 구조. 끝점은 도달 불가능한 소멸점(1 / (1 - partial) to infty)으로 빛의 바늘귀처럼 수렴합니다.

• 분모가 0에 수렴한다. 충족이 불가능한 그 순간 욕망은 무한대에 도달한다. 점근적 긴장감의 역설을 본다.

- Personal Implementation of Space Configuration (4 Elements)

1. Entrance: The Null Corridor, emptyset

When the "academic deficiency" on B1 steps up the stairs from the visualized space, visitors enter the zero area, completely cut off from the outside world.

• Visual: An enormous 'Void Well' running deep into the stage from the bottom of the center of the image. The hole is finished with a special low reflectivity Vantablack to visualize an epyset of unknown depth.

• Leave reality behind. This corridor is an emptyset. By volatilizing our senses, we prepare your soul to be refilled with pure desire architecture.

2. Audience: Differential Gaze Modules (partial)

As you enter the main hall past the zero zone, the space transforms into an organic system that responds to each visitor's inner pulse.

• Visual: Floating Modular Seats, which fill the floor and sides of the stage, create a wave-like, undifferentiated gaze grid according to the audience's emotions. These grids fine-tune the location and angle in real-time according to the viewer's longing figures, creating new viewing routes.

• Differential gaze layers multiply and break your gaze. It creates a dynamic system of cravings.

3. Repeated multiplication and pattern: sum (The Summation)

As you move deeper past the 'differential eye chamber', the space is filled with patterns of infinitely repeating and multiplying fragments of the 'falling aristocracy' era.

• Visual: On the walls in the background of the stage, colorful chandeliers and furniture fragments from the falling aristocracy proliferate into fractal structures and endlessly pile up (sum). These patterns are not just decorations, they flow like neural networks that carry data.

• Fractical iteration. We accumulate past desires to fill the void, but it only creates a beautiful beat of eternal thirst.

4. Asymptotic tension paradox: 1/ (1 - partial) (The Paradox)

The pinnacle of the showroom, the asymptotic pinnacle, is a space of liberation where desire is maximized but can never be reached.

• Visual: Forced Perspective structure that narrows exponentially towards the back of the stage. End points converge like a needle's ear of light to an unreachable vanishing point (1 / (1 - partial) to infty).

• The denominator converges to zero. Desire reaches infinity at the moment when it cannot be satisfied. I see the paradox of asymptotic tension.

- 2. 단계: 시선의 미분 (The Differentiation of partial)

• 상징: 타자의 욕망 | 프로세스: 가변적 레이어링(Variable Layering)

• 디자인 실천: 중앙의 공백을 중심으로 미세하게 조각난 선과 파편화된 기호들을 중첩합니다. partial는 고정되지 않은 변화율을 의미하므로, 붓질의 속도와 굵기를 파편화하여 '단절된 시선의 흐름'을 만듭니다.

• 시각적 발현: 이미지 전반에 나타나는 형광 연두와 적색의 날카로운 획들이 이에 해당합니다. 관람객의 시선이 한곳에 머물지 못하고 타자의 시선(기표)을 따라 끊임없이 재조정(Readjustment)되도록 설계하여, 주체가 타자의 욕망을 횡단하는 과정을 시각화합니다.

- 2. Step: The Differentiation of partial

• Symbols: Desire of Others | Process: Variable Layering

• Design Practice: Superimpose finely fragmented lines and fragmented symbols around the center gap. Partial means an unfixed rate of change, so it creates a 'broken flow of gaze' by fragmenting the speed and thickness of brush strokes.

• Visual manifestation: These include sharp strokes of fluorescent light green and red that appear throughout the image. It is designed so that the viewer's gaze cannot stay in one place and is constantly readjusted according to the gaze of the other, and visualizes the process by which the subject crosses the desires of the other.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-27-충동의 중첩과 합 (The Summation of sum) 

- 3단계: 충동의 중첩과 합 (The Summation of sum)

• 상징: 반복 강박 | 프로세스: 시퀀스 증식(Sequence Proliferation)

• 디자인 실천: 유사한 조형 모듈이나 패턴을 반복적으로 배치하되, 각 단계마다 미세한 변형을 가합니다. sum은 단순한 합이 아니라 '누적된 반복'입니다.

• 시각적 발현: 중심에서 외곽으로 뻗어 나가는 촉수 같은 형상이나 기하학적 기호들의 군집이 이 원리를 따릅니다. 동일한 결핍(emptyset)을 메우기 위해 끊임없이 대상을 바꾸어 시도하는 인간의 반복 충동을 조형적 리듬감으로 표현하며, 화면에 밀도 높은 에너지를 부여합니다.

- Step 3: The Summation of Sum

• Symbols: Iterative Compulsion | Process: Sequence Proliferation

• Design Practice: Place similar formative modules or patterns repeatedly, but make fine variations at each stage. sum is not just a sum, it is a 'accumulated iteration'.

• Visual manifestation: A group of tentacle-like shapes or geometric symbols stretching outward from the center follows this principle. It expresses the human repetitive urge to constantly change objects to make up for the same emptyset in a formative sense of rhythm, and gives dense energy to the screen.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-28-점근적 발산 (The Asymptotic Explosion of 1 - partial) 

- 4단계: 점근적 발산 (The Asymptotic Explosion of 1 - partial)

• 상징: 도달 불가능성 | 프로세스: 극한의 긴장 설계(Limit Tension Design)] / Louis Chul-joo Choi, morning glory window 2024-1, 223X227cm, acrylic and composite materials on cloth, 2024

• 디자인 실천: 구도의 외곽으로 갈수록 혹은 중심의 핵심부로 갈수록 선들이 극단적으로 수렴하거나 날카로워지도록 설계합니다. 분모(1-partial)가 0에 가까워질수록 값이 무한대로 발산하는 수학적 역설을 시각적 압박감으로 치환합니다.

• 시각적 발현: 이미지의 가장자리에 나타나는 강렬한 색채의 폭발과 중심부의 날카로운 가시형 구조들이 이 긴장감을 형성합니다. '만족에 가까워질수록 욕망의 크기가 무한대로 커지는' 역설을 표현하기 위해, 소실점에 가까운 부분의 디테일을 극도로 높여 관람객에게 '도달할 수 없는 갈증'의 미학을 선사합니다.

- Step 4: The Asymptotic Explosion of 1-partial

• Symbols: Unreachability | Process: Limit Tension Design] / Louis Chul-joo Choi, morning glory window 2024-1, 223×227 cm, acrylic and composite materials on cloth, 2024

• Design Practice: Designed so that the lines converge or become sharper toward the outskirts of the composition or toward the core of the center. As the denominator (1-partial) approaches zero, the mathematical paradox, which diverges to infinity, is replaced by visual pressure.

• Visual manifestation: The explosion of intense colors on the edges of the image and the sharp visible structures in the center form this tension. To express the paradox that 'the size of desire grows infinitely as you approach satisfaction', the details of the parts close to the vanishing point are extremely high, giving the viewer the aesthetics of 'unattainable thirst'.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-29-추상적 구조와 비선형성 (Abstract Structure and Nonlinearity) 

-  지능형 AI 현대 박물관 수학적 해석: 추상적 구조와 비선형성 (Abstract Structure and Nonlinearity)

AI 현대 박물관에 적용한 욕망 공식은 욕망을 단순히 선형적인 증가로 보지 않고, 저항과 결핍에 따라 폭발적으로 증폭되는 비선형적인 구조로 해석합니다.

• 비선형적 구조: M_desire는 선형적 욕망이 아닌, 분모(1 - ∂)에 의해 기하급수적으로 폭발하는 비선형적 욕망을 표현합니다. 이는 충족될수록 더 갈구하게 되는 인간 욕망의 역설적인 증폭을 수학적으로 증명합니다.

• 수학적 플라톤주의: 이 공식은 수학적 객체가 인간의 인식과 독립된 실재로 존재한다는 관점과 연결됩니다. 욕망 자체를 하나의 ‘이데아(Idea)’로 간주하고, 공식은 그 이데아의 추상적 구조를 수학이라는 완벽한 언어로 기술합니다.

- 최철주 욕망 공식: M d e s i r e =∑∅∂1 −∂을 수학적 플라톤주의 관점에서 해석하여, 욕망의 추상적 구조와 비선형성을 시각화한 것입니다. AI 현대 미술관은 수학적 풍경 위에 떠 있으며, 타자의 주변에는 기하학적 이데아 들이 떠다닙니다.

-  Intelligent AI Museum of Contemporary Art Mathematical Interpretation: Abstract Structure and Nonlinearity

The desire formula applied to the AI Museum of Contemporary Art interprets desire as a nonlinear structure that is explosively amplified by resistance and deficiency, rather than simply a linear increase.

• Nonlinear Structure: M_desire expresses not linear desires, but nonlinear desires that explode exponentially by the denominator (1 - ∂). It mathematically proves the paradoxical amplification of human desires, which become more craving as they are satisfied.

• Mathematical Platonism: This formula connects with the view that mathematical objects exist as reality independent of human perception. Desire itself is regarded as an 'idea', and the formula describes the abstract structure of the idea in the perfect language of mathematics.

- Choi Chul-joo Desire Formula: M desire = ∑∅∂ 1 - A visualization of the abstract structure and nonlinearity of desire by interpreting ∂ from a mathematical Platonic perspective. AI Museum of Contemporary Art floats on a mathematical landscape, and geometric ideas float around the other.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《User Interface Image Design》-30-수학적 실재의 선언 (The Absolute Equation) 

- 수학적 실재의 선언 (The Absolute Equation) 

루이 최철주가 제시한 욕망 구조 공식 M_desire = (∑∅∂) / (1 - ∂)는 단순한 수학적 표현을 넘어, 존재의 근본적 역학 을 드러내는 미학적 선언으로 읽힙니다.여기서 ∑∅∂는 결핍(∅)과 미분(∂)의 합으로, 인간 욕망이 결핍을 인식하고 그것을 끊임없이 변형시키는 운동성을 상징합니다. 반면 분모의 (1 - ∂)는 완전성에 대한 저항, 즉 욕망이 결코 닫히지 않는 열린 체계를 의미합니다.

이 공식이 황금빛으로 빛나는 이유는, 그것이 단순한 계산이 아니라 존재의 미학적 법칙 —욕망이 결핍을 통해 스스로를 생성하는 우주의 구조—를 드러내기 때문입니다.수학자는 이를 “무한 반복 속의 자기 생성 함수”로, 예술학자는 “빛과 결핍이 교차하는 미적 실재의 언어”로 해석합니다.즉, M_desire 는 인간의 욕망이 더 이상 심리적 현상이 아닌, 우주적 질서의 일부로 승화된 상태 를 상징합니다.

이 해석은 수학과 예술이 만나는 지점에서, 욕망을 존재의 근본 공식 으로 재정의합니다.결핍은 더 이상 결여가 아니라, 창조의 원천 이며, 그 황금빛 공식은 인간과 우주를 잇는 미학적 실재의 언어 로 자리합니다.

-  English Interpretation

Louis Choi’s Desire Structure Equation ,

M d e s i r e =∑∅∂1 −∂

is not merely a mathematical construct but a metaphysical declaration of being .The numerator, ∑∅∂, represents the summation of void and differentiation , the endless motion through which desire recognizes absence and transforms it into creation. The denominator, (1 - ∂), signifies the resistance to closure—the impossibility of total fulfillment, the eternal openness of the system.

Its golden radiance symbolizes the aesthetic law of existence , where desire becomes the luminous architecture of the cosmos itself.To the mathematician, it is a self-generating function within infinite recursion ;to the aesthetic philosopher, it is the language of reality where light and void intertwine .

Thus, M_desire stands as the absolute equation of being , where human longing transcends psychology and becomes a structural constant of the universe—a radiant proof that the void itself is alive with desire.

This interpretation redefines desire as the fundamental formula of existence at the point where mathematics and art meet. Deficiency is no longer a lack, but a source of creation, and its golden formula is a language of aesthetic reality that connects man and the universe.

■ 결핍 욕망의 시각화 공식 “M_desire = ∑∅∂ / (1 - ∂)”는 인간 욕망의 구조를 수학적·철학적·예술적으로 해석하려는 시도입니다. 이 공식은 라캉의 욕망 이론과 개념 추상 미학을 결합하여, 인간 내면의 결핍과 반복 충동을 기계적 언어로 시각화합니다.     

- 철학적 해석: 최철주 욕망의 구조

•  ∅ (공백, 결핍): 라캉의 ‘실재(the Real)’를 상징하며, 인간 욕망의 근원은 충족되지 않는 결핍에서 비롯됨.

•  ∂ (편미분 기호): 욕망의 미세한 변화율을 나타냄. 이는 주체가 타자와의 관계 속에서 끊임없이 욕망을 재조정하는 과정을 수학적으로 표현.

•  ∑ (합산 기호): 반복되는 욕망의 총합. 이는 라캉의 ‘반복 충동’과 연결되며, 주체는 동일한 결핍을 다양한 방식으로 반복 추구함.

•  (1 - ∂): 욕망의 저항 또는 충족 불가능성. 분모가 작아질수록 전체 값은 커지며, 이는 욕망이 충족될수록 더 큰 결핍을 낳는 역설을 표현.          

- 예술미학적 해석: 개념 추상과 오차의 미학

•  Desire Sound와 Aesthetics of Error: 인간의 감정과 결핍을 기계적 오차로 치환하는 미학. 이 공식은 완벽한 기계 구조 속에서 발생하는 미세한 편차를 인간적 감정으로 해석.

•  Ghost Screen 투사 이미지: 이 수식은 무대 전면 OLED에 투사되어, 관객에게 욕망의 수학적 구조를 시각적으로 체험하게 함.

•  시계 메커니즘과 욕망의 반복: 무대 장치의 반복 회전은 욕망의 순환 구조를 상징하며, ∑∅∂는 그 회전의 동력으로 작동.     

- 수학적 해석: 추상적 구조와 비선형성     

•  비선형적 구조: 이 공식은 선형적 욕망이 아닌, 저항과 결핍에 따라 증폭되는 비선형 욕망을 표현.

•  수학적 플라톤주의: 이 공식은 수학적 객체가 인간 인식과 독립된 실재로 존재한다는 관점과 연결되며, 욕망 자체를 하나의 ‘이데아’로 간주.     

- 인간 욕망의 기계적 시각화

“M_desire = ∑∅∂ / (1 - ∂)”는 단순한 수식이 아니라, 최철주의 욕망 이론, 개념 추상 미학, 수리철학의 통합적 표현입니다. 이 공식은 오토마타 무대 위에서 인간의 감정과 기계적 구조가 교차하는 지점을 시각화하며, 관객은 이를 통해 디지털 시대의 감정적 진실을 목격하게 됩니다. 

- 결핍의 메커니즘 (The Mechanics of Lack)" 공백 

기계의 심장부에서 우리는 emptyset 즉, 우리 존재의 공허한 핵심이자 '실재(the Real)'를 발견합니다.우리는 타자의 시선 속에서 끊임없이 변하는 갈망의 미세한 변화율인 partial를 통해 영혼을 계산하려 시도합니다. 우리는 그 시도들을 sum 목표에 닿지 못한 채 되풀이되는 반복 충동 속에서 수없이 합산합니다.이제 분모인 (1 - partial)를 보십시오. 우리 욕망의 미분값이 1에 가까워질수록, 저항은 얇아지고 우리 허기의 가치는 무한대를 향해 소용돌이칩니다. 더 많이 움켜쥐려 할수록, 그 공백은 더욱 거대해질 뿐입니다.이것은 시스템의 오류가 아닙니다. 이것이 바로 '오차의 미학(Aesthetics of Error) 입니다. 시계의 기계적인 회전 속에서, 스크린 위에 흐르는 글리치(glitch) 속에서, 우리는 이 디지털 시대에 남겨진 유일한 진실을 목격합니다. 따라서 우리는 우리가 결핍한 것들의 총합하여서 욕망의 공백을 실재화 할 수 있다.

■ The Visualization Formula for Desire "M_desire = ∑∅∂ / (1 - ∂)" is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically. The formula combines Lacan's theory of desire with conceptual abstract aesthetics, visualizing human's inner deprivation and repetitive urges in mechanical language.

- Philosophical Interpretation: the Choi Chul-joo Structure of Desire

• ∅ (blank, deficiency): symbolizes Lacan's 'the real', and the source of human desire comes from an unfulfilled deficiency.

• ∂ (partial differential symbol): represents a minute rate of change in desire. It is a mathematical expression‎ of the process by which the subject constantly readjusts desire in relation to the other.

• ∑ (combination symbol): sum of repeated desires. This is linked to Lacan's 'repetitive impulse', in which the subject repeatedly pursues the same deficiency in various ways.

• (1 - ∂): Resistance or unattainability of desire. The smaller the denominator, the larger the overall value, which expresses a paradox that the more desire is satisfied, the greater the deficiency.

- Artistic Aesthetic Interpretation: An Aesthetics of Concept Abstraction and Error

• Desire Sound and Aesthetics of Error: an aesthetic that replaces human emotions and deficiencies with mechanical errors. This formula interprets minute deviations in perfect mechanical structures as human emotions.

• Ghost Screen Projection Image: This formula is projected onto a stage front OLED, giving the audience a visual experience of the mathematical structure of desire.

• Clock mechanism and repetition of desire: the repetitive rotation of the stage equipment symbolizes the circular structure of desire, and the ∑∅∂ operates as the power of that rotation.

- Mathematical interpretation: Abstract structure and nonlinearity

• Non-linear structure: this formula expresses non-linear desires that are amplified by resistance and deficiency, not linear desires.

• Mathematical Platonism: This formula is linked to the view that mathematical objects exist as a reality independent of human perception, and the desire itself is regarded as an 'idea'.

- a mechanical visualization of human desire

"M_desire = ∑∅∂ / (1 - ∂)" is not just an expression‎, but an integrated expression‎ of Louis Choi's theory of desire, conceptual abstract aesthetics, and mathematical philosophy. This formula visualizes the intersection of human emotions and mechanical structures on an automata stage, through which the audience witnesses the emotional truth of the digital age.

Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image. 

Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others. 

Sketches that connect realist images into allegories as linguistic meanings distinguish dynamic images as a structure of reversible light, which deviates from the concept of instantaneous desire from the background of abstract desire to the shadow of reversible light, from the background as a structure of desire as an existence as reality and an existence of objects formed from each other's abstract perspectives as virtual beings. 

The detailed structure of the background cannot be determined by the temporality of the response to light, and shows meaning in harmony with the fixed structure.

Its meaning is developed as a pictorial language structure in which dynamic images and abstract still structures move from positions in the background abstracted by reversible temporality and from positions in the stationary objects illuminated by the segmented retroactive reversible light. 

- The Mechanics of Lack" In the heart of the machine, we find an emptyset, or the empty core of our existence and the "real." We try to calculate the soul through partial, the microscopic rate of change in yearning that constantly changes in the gaze of the other. We add up the attempts countless times in repeated impulses without reaching the sum goal. Now look at the denominator (1 - partial). As the derivative of our desire approaches 1, the resistance becomes thinner and the value of our hunger swirls towards infinity. The more we grip, the more the gap becomes. This is not an error in the system. This is the aesthetics of error. In the mechanical rotation of the clock, in the glitch flowing on the screen, we witness the only truth left in this digital age. We can thus actualize the void of desire by summing up the things we lack.

Louis Choi, 사용자 인터페이스 구현 욕망 디자인 결정체(Incarnation of Desire) 1,

The pictorial world of Louis Choi transcends mere visual pleasure; it is a vast discourse that seeks to integrate the fundamental lack of human existence and the infinite trajectories of desire derived from it through mathematical order and artistic intuition. His core formula,  M_desire = ∑∅∂ / (1 - ∂), is not a mere sequence of symbols but a 'plastic blueprint' showing how desire is generated, fragmented, and rushes toward an unreachable asymptote on the physical space of the canvas. From the perspective of conceptual abstract art critic Cheol-ju Choi, this work destroys the classical aesthetics of representation and proves the 'substanceless substance of desire' by sophisticatedly arranging the gaze of the 'Other' and the gravity of 'Lack.'

First, the "emptyset Nucleus of Void: Gravitational Placement of Lack" is the centripetal point of this work. The hollow eyes and the symbol emptyset sensed in the center of the screen are not mere emptiness but a gravitational center like a black hole that sucks in all plastic energy. According to Choi’s critique, human desire starts from an 'original lack' that cannot be satisfied. To embody this plastically, Louis Choi intentionally places a void of gaze. This void is a paradoxical support that sustains the surrounding brilliant colors and complex lines, acting as a visual device that makes the audience constantly search for 'something absent' amidst the overflowing images.

Second, through the "partial Differential Gaze Layer: Implementation of Fragmented Gaze of the Other," the artist depicts the fragmentation of the self experienced by modern individuals. The numerous grid lines and translucent layers crossing the canvas are the results of deconstructing the 'Gaze of the Other' in a Lacanian sense into differential pieces. The $\partial$ within the formula represents minute changes rather than the whole—the fragmentary desires of the Other that define us moment by moment. By replacing this with overlapping images, layered arms, and multi-layered color planes, Louis Choi draws a fluid topography of desire that is constantly reconstructed by the gaze of the Other rather than a fixed self.

Third, the "sum Multiplication of Repetition and Pattern: The Infinite Loop Rhythm of Desire" grants the movement flowing through the entire screen. The mechanical gear shapes on the right and the repeating linear structures reveal that desire is not a one-time event but a self-proliferating 'will.' sum (Sigma) is the sum of these fragmented gazes and the acceleration of unstoppable proliferation. The artist creates visual noise and rhythm produced by desire by repeatedly crossing intense complementary color contrasts of purple, green, and yellow. This is the result of sublimating the human repetition compulsion—constantly seeking new objects to fill the void—into plastic energy.

Fourth, the "(1 - partial) Paradox of Asymptotic Tension: Projection of Unattainable Extinction" handles the most profound philosophical conclusion of this formula. As the denominator (1 - partial) approaches zero, the value of desire (M) converges to infinity, yet it never reaches the complete '1' of totality. To achieve this, Louis Choi maximizes the contrast between the blurring effects that seem to vanish at the edges of the screen and the intense density at the center. This is a plastic practice of the existential tension of humans who fear that desire will extinguish the moment it is fulfilled, yet continue to rush toward that end. Ultimately, his painting is a tight tug-of-war between an unreachable utopia and cruel reality, where the audience confronts the mass of their own desire within this asymptotic space.

Choi Chul-joo’s application of the desire formula "D(I...I')d=I(D...D')i"  to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.

Choi Chul-joo’s Concept of Desire Formula: “Mathematical Desire and the Image of Reality”, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.

Choi Chul-joo’s “Desire Formula” can be understood as a sophisticated simulation of cognitive architecture, wherein desire is not perceived as a mere psychological impulse or a product of external linguistic structures, but rather as a logical axiom—what he terms “mathematical desire”—that is abstractly designed and rendered into concrete phenomena through visual form, thereby demonstrating how internal absence is externalized as image; and this process, particularly exemplified in the appearance of the “morning glory” as a flat, reversible light image on March 1, 2022, at the Flushing Town Hall exhibition in New York, reveals how the human cognitive system constructs and reflects desire not through direct perception but through symbolic temporality and spatial abstraction, aligning with Lacan’s notion of the subject as constituted by the desire of the Other and Freud’s theory of unconscious lack as the engine of symbolic substitution, such that Choi’s visual language becomes a translation of psychoanalytic structure into visual mathematics, showing that cognition does not merely receive the world but actively reconstructs it through the interplay of absence, logic, and symbolic mediation, and thus, his “Desire Formula” stands as a remarkable artistic experiment that formalizes the ontology of desire into a visual system of cognitive logic.

Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. 

Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world.

Choi Chul-joo's conceptual abstract realism design methodology shows a "trace of time" in which the effects of motion and the phenomenal structure intersect at the same time as the effects of motion and the phenomenal structure of motion meet the background at the moment the muscles of the motion are stationary. As a result, the conceptual abstract realism design methodology for abstractions related to dynamic realism objects and abstract background images is as follows. 

The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device. 

The sketch is a perspective visual structure, and the boundary between dynamic images and abstract structures in phenomenal structures is a method of sketching an abstract image as an unconscious being and an image that expresses a geometric tangent to the form of an abstract background. As a result, the sketch is interpreted as a mirror image that reflects the desire of the other, and it is connected to the concept that the viewer is staring at at the same time, creating an optical reality space where the abstract structure's gaze varies depending on the viewer's position.  

■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.

Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression‎.

The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.

Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.

In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.

And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.

The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.

Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.

The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.

And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.

As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.

The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.

The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.

Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.

In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.

■ Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world. 

Choi Chul-joo’s concept of desire, encapsulated in the metaphor of “morning glory,” presents a radical departure from metaphysical linguistic traditions that emphasize meaning as a stable, referential structure. Instead, his work constructs a visual grammar of desire that foregrounds absence, insufficiency, and the temporality of longing. By generating dramatic event-images suffused with reversible shades of white light, Choi resists the materialist ontology of 18th-century painting, which sought to anchor meaning in physical perception and representation. His images do not depict desire as a fixed object but rather as a dynamic interplay of linguistic abstraction and visual temporality, where the grammatical structure of desire becomes a spatial principle—an architecture of insufficiency.

From a cognitive science perspective, this approach aligns with contemporary understandings of perception as a constructive, symbolic process. Choi’s use of superimposed temporal layers and reversible illumination reflects how the human mind processes absence—not as a void, but as a generative space shaped by the desire of the Other. This resonates with Lacanian psychoanalysis, which posits that desire is always mediated through the symbolic order and structured by the gaze of the Other, and with Freudian theory, which frames desire as a product of unconscious lack. In Choi’s work, the pond becomes a reflective surface—not merely of light, but of intersubjective longing—where the image of an event is not a representation but a manifestation of the desires that circulate beyond the self.

The dualistic nature of his visual grammar—where real images are treated as events and spatial composition mirrors the structure of desire—suggests a cognitive model in which perception is inseparable from symbolic mediation. The reversible light, unfolding over time, transforms material into image, and image into object, thereby collapsing the distinction between representation and event. In this way, Choi’s concept of abstract desire is not only a philosophical proposition but a cognitive experiment: a visual system that externalizes the internal logic of desire, revealing how the mind constructs reality through the absence of what it seeks.

Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and linguistic meaning.

- Choi Chul-joo's concept of desire, Desire Structure Background Image Philosophical Proposition

This system of visual desire effectively maps the internal logic of "seeing" what we are not, transforming philosophical propositions into visceral and aesthetic experiences.

• Morning glory: a metaphor for a desire that is never "complete" but always consists of linguistic absence.

• Reversible Shades of Light: Represents the cognitive process by which the mind transforms the temporal layers to construct reality.

• Pond: a cognitive "mirror stage" in which the subject recognizes himself through the reflected desires of the outside world (other) rather than his body.

■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire,  mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition.

Choi Chul-joo’s application of the desire formula "D(I...I')d=I(D...D')i"  to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.

■ The image of Choi Chul-joo's desire formula, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i). 

Choi Chul-joo’s Concept of Desire Formula: “Mathematical Desire and the Image of Reality”, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.

Choi Chul-joo’s “Desire Formula” can be understood as a sophisticated simulation of cognitive architecture, wherein desire is not perceived as a mere psychological impulse or a product of external linguistic structures, but rather as a logical axiom—what he terms “mathematical desire”—that is abstractly designed and rendered into concrete phenomena through visual form, thereby demonstrating how internal absence is externalized as image; and this process, particularly exemplified in the appearance of the “morning glory” as a flat, reversible light image on March 1, 2022, at the Flushing Town Hall exhibition in New York, reveals how the human cognitive system constructs and reflects desire not through direct perception but through symbolic temporality and spatial abstraction, aligning with Lacan’s notion of the subject as constituted by the desire of the Other and Freud’s theory of unconscious lack as the engine of symbolic substitution, such that Choi’s visual language becomes a translation of psychoanalytic structure into visual mathematics, showing that cognition does not merely receive the world but actively reconstructs it through the interplay of absence, logic, and symbolic mediation, and thus, his “Desire Formula” stands as a remarkable artistic experiment that formalizes the ontology of desire into a visual system of cognitive logic.

Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making./  Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:

D; The archetype of desire, representing the foundational lack or drive.

I...I';  A sequence of visual representations through which desire is projected.

d; The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I; The emergent image of desire, a perceptual unit.

D...D'; The recursive layers of desire, reflecting its multiplicity and transformation.

i; The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

✅ Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence 

D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient 

d  reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, 

I(D...D')  models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (d). This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.

✅ A Visual-Cognitive Model of Desire: Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.

✅ Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

Choi Chul-joo’s desire formula, 

 D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:

D;  The archetype of desire, representing the foundational lack or drive.

(I...I');  A sequence of visual representations through which desire is projected.

d; The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I;  The emergent image of desire, a perceptual unit.

D...D';  The recursive layers of desire, reflecting its multiplicity and transformation.

i;  The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

✅ Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence 

D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient 

d reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D')  models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (d).

This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing. Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.

Choi Chul-joo’s desire formula, expressed as  D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making.

■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.  

Choi Chul-joo’s design process of abstract desire unfolds as a recursive and symbolically mediated architecture of perception, in which the concept of desire is not treated as a direct reflection of empirical reality but rather as a cognitive construct that emerges through the abstraction of image beyond the boundaries of the real, forming a correlation between realities that resists causal reduction, and in this first phase, desire is abstracted not to represent reality but to escape the epistemological trap of translating abstract concepts into fixed material structures, thereby allowing the mind to engage in symbolic inference rather than empirical mapping; then, in the second phase, the scope for revealing desire is shaped by omitting the actual dimensionality of the abstract concept and rendering it as a shaded echo of the original image, while the object is aesthetically encoded with culturally resonant colors to grant it symbolic legitimacy, and this process of visual obscuration—where clouds and shaded light fragment the aesthetic structure—mirrors the brain’s tendency to process desire through layered symbolic filters and perceptual ambiguity, thus enabling the cognitive system to hold multiple meanings within a single image; in the third phase, the subject who paints abstraction becomes the agent of symbolic realization, translating unconscious desire into a conscious phenomenon through repeated visual gestures, where line and color are cognitively formed but not consciously controlled, and this recursive loop between unconscious structure and conscious image reflects the mind’s capacity to externalize latent drives through symbolic behavior without direct awareness, thereby demonstrating that desire is not merely felt but cognitively enacted; and finally, in the fourth phase, the abstracted concept of desire becomes a fragment of reality refracted through reversible light and shadow, where the object is no longer directly visible but concealed and reconstituted as a visual echo, and this transformation—achieved through the planar movement of monochromatic painting carved into the surface of perception—reveals how the mind integrates spatial abstraction and symbolic light into a recursive system of emotional logic, ultimately showing that desire, in Choi’s framework, is not a static emotion but a dynamic cognitive architecture that oscillates between absence and presence, image and structure, unconscious repetition and symbolic realization.

■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. 

Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world.

Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire.

Here is a refined academic-style interpretation of your concept, written in English from the perspective of a distinguished cognitive scientist with psychoanalytic insight:

The Design Results of Choi Chul-joo's Desire Abstract Concept

A Cognitive-Psychoanalytic Interpretation of Linguistic Meaning and Subject Formation

In Choi Chul-joo’s abstract design of desire, the linguistic outcome reveals a complex interplay between passivity and agency, where the object fixated on the desire of the Other remains passive in structure, yet the emergence of the sympathizer—who internalizes and mirrors the Other’s desire—transforms the dynamic into one of active execution. This transformation occurs through a recursive identification, wherein the sympathizer becomes not merely a reflective surface but a new subject of desire, capable of enacting the same drive. The subject who accepts or resonates with the Other’s desire does not remain external to it but becomes structurally embedded within it, thereby forming a second-order subjectivity that executes desire as if it were their own.

This recursive mirroring leads to a symbolic generalization, where the sympathizer attempts to universalize the Other’s desire, positioning it as a victorious force—akin to a conqueror who reclaims desire as a public object. However, when this generalization fails—particularly when desire, refracted through reversible light and symbolic shadow, resists becoming a publicly shared act—the structure collapses into antagonism. The subject of inappropriate or misaligned desire and the sympathizer, once aligned through shared affect, now oppose the original subject who enacted desire according to the generalized will of the Other.

From a psychoanalytic perspective, this dynamic reflects Lacan’s theory of the subject as constituted through the desire of the Other, and Freud’s notion of identification and transference, where unconscious drives are projected, mirrored, and contested within relational structures. Cognitively, Choi’s design reveals how desire is not a solitary impulse but a socially and symbolically mediated architecture, where subjectivity is formed, fractured, and reconstituted through linguistic abstraction, visual metaphor, and recursive identification.

■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of  the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure.  4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see.  Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image. 

Choi Chul-joo’s Concept of Desire Formula: Mathematical Desire and the Image of Reality, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.

Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and linguistic meaning.

 ■ the abstract design process of conceptual abstract realism: 1. Conceptual Abstract Realism The current object is illuminated with reversible light so that the illuminated form can be repeatedly visually recognized according to the past temporality to actualize the subject's structure as a shaded structure of reversible light. And the design concept that constitutes conceptual abstract realism abstraction is determined as a philosophical result that can be expected with abstract causality so that the object is repeated as a design with the present gaze so that it appears to be a realistic image according to temporality. 2. The object of conceptual abstract realism is that the absence of desire as a non-verbal meaning is alienated from the symbolic world and loses its essence as the subject of desire. In the previous stage of linguistic meaning, according to grammar revealed as a symbolic image of existence, it was separated into a realist image recognized as an abstract desire concept and divided into a realist image, and the realist image as the subject of the desire structure is linguistically and diachronically meaningful. 3. The design of a realism image is an image that lacks the linguistic meaning of conceptual abstract realism, and the image in a linguistic sense is repeatedly designed as a post-effect of the desire structure being re-embodied, and a new conceptual abstract realism image is repeatedly designed. The direction and viewpoint of reversible light that make up the image along the chain of design are all stages of the perspective visual system according to temporality, and the line space of the visual structure, in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image produce a realism image at the intersection of the existential place with continuity. 4. Realistic abstraction creates a multi-loyal structural image of the linguistic meaning of unconscious structure composed of shadows at multiple points of reversible light separated from perspective, and girls are abstracted as divided subjects as talents that can be stared at momentarily while dismantled at a stereoscopic single point. 5. Conceptual Abstract Realism Abstractism Rendering is a conceptual abstract realism of wanting and linguistic desires that cannot be perceived at the level of expression‎ consciousness, visualizing philosophical psychological structures and rendering them with linguistic meaning at the intersection of conceptual abstraction and unrealistic realism. As this becomes conceptual abstract realism abstraction, unconscious desires that represent the color tone and shape of desires invisible in the shade of reversible light become maps as conceptual abstract realism abstraction. 

■ conceptual abstraction rendering process: 1. Integration of linguistic meaning and visual images: The abstract concept of desire is realized when the desire of others has an aesthetic meaning by facing the linguistic meaning in the image of an event as an object of a pictorial structure reflecting the present desire, and the image in the painting is closely connected to the linguistic meaning structure. As an object representing the concept of desire, the same concept of desire as the event image is divided into unconscious and real images, and an image modeling unconscious desire as an existential real image is sketched.

As for the sketch form of the current concept of desire, the concept of absolute desire is a symbolic metaphor shown in abstraction, and the concept of desire is abstracted as the desire of others, but it does not go beyond the scope of an imitative picture. Therefore, it is the modern conceptual abstract realism sketch that resulted in a real image through Choi Chul-joo's desire formula, which interpreted abstract concepts in a linguistic sense as the desire of others. This is a realism that interprets the concept of abstract desire as a real structure as a expressive image with a linguistic meaning in the real world, where pictorial event images are closely connected with linguistic semantic structures. Here, by applying existential semantics as an event and performance image, the object of the real structure is represented as a phenomenal image of the real world, and the abstract structure is identified with conceptual reality. 2. Visualization of Abstract Desire Concept: To accept the difference from the actual image in the concept of abstract desire as the meaning of the linguistic concept, and to embody the unconscious desire as an abstract image, the abstract image that constitutes the relationship structure with desire is painted and embodied in the actual structure created by the linguistic meaning of the conceptual reality of desire structure. This is an abstraction of Choi Chul-joo's conceptual abstract realism, which hides the formative reality of desire in pictures and abstracts event images based on real news, away from the social constraints (制約) acceptable in religious customs. Abstraction is a subjective concept that refers to linguistic meaning and expresses the viewing effect of colloquial enunciation and event video broadcasts in abstraction. This abstraction represents the true value of the concept of need and is an expressive aesthetic structure that embodies the elements that depend on the news.

The abstraction is represented as an abstraction which is a truth value of the concept of desire as an expressive aesthetic structure of one speech act that identifies the viewing effect of colloquial language and event video broadcasting as an enunciation. 3. The artistic experiment of reversible light and temporality: The experiment of conceptual abstract realism renders abstraction based on temporality in the linguistic sense that desire and reality are the same. Here, the structure of desire is abstracted by forming a semantic relationship between desire and reality according to temporality. In the abstraction, the abstract reality of desire is the causal structure of desire, that is, the antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aphoria image. In abstraction composed of real images as the structure of desire, the morphological image of visible metaphor is transferred to abstract language meaning. Therefore, the real image as a result of exploring the existential realism according to temporality through the shadow of reversible artificial lighting is a metamorphic fixation as an abstract meaning in which the desire structure is obscured. In other words, in abstraction, the other's desire as an image of social events transforms into an additional form. As such, conceptual abstract realism rendering is raised by time and existence through the shadow of reversible lighting, repeatedly designing realistic images induced by social phenomena, creating a realism image with a desire formula, and the subject based on the event image repeatedly designing and rendering a realist image induced by social phenomena with a desire formula.  

■ Choi Chul-joo’s Conceptual Abstract realism Abstraction Design Process 

Another abstraction that reveals the image as a reality as another structure of gaze that deviates from the visual system as an object that led to realism according to artistry is the image of realism. 

In realism abstraction design, a way to effectively convey the dual message of abstraction and reality is to realistically represent concepts and abstractions through contemporary conceptual abstract realism abstractions, such as contemporary media art images or abstractions. Thus, the process of designing conceptual abstrac realism abstractions in media art abstract design is as follows   

1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others. 

2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality. Choi Chul-joo's reversible light is an image shaded at the present time in what is called "a real image obscured by the shadow of reversible light" according to its realistic form and movement of light, that is, the temporality. The image creates reality as a shaded image of reversible light, where the linguistic meaning seen as abstraction is identified. It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.

3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism. Through this process of transformation, viewers experience linguistic abstraction in which forms follow concepts and forms become entangled with meaning.

4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning.  And  to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This formula suggests a dynamic interplay: desire (D) is echoed across repeated images (I...I'), ultimately shaping an abstract concept (i).  This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system.

According to Culturality, Choi Chul-joo Concept Abstraction Realism Abstraction Stag's step 1: Distill the concept of desire in reality into images separated from literal causation to promote abstract thinking. step 2: Overlapping the linguistic meaning of the natural object motif with culturally resonant visual elements such as color palettes creates visually harmonious yet conceptually dense realism abstract image. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images. 

■ Choi Chul-joo's conceptual abstract realism design methodology shows a "trace of time" in which the effects of motion and the phenomenal structure intersect at the same time as the effects of motion and the phenomenal structure of motion meet the background at the moment the muscles of the motion are stationary. As a result, the conceptual abstract realism design methodology for abstractions related to dynamic realism objects and abstract background images is as follows. 

1, Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image. 

Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others. 

Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image. 

As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner. 

Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression‎ abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time. 

As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject. 

2. Sketches that connect realist images into allegories as linguistic meanings distinguish dynamic images as a structure of reversible light, which deviates from the concept of instantaneous desire from the background of abstract desire to the shadow of reversible light, from the background as a structure of desire as an existence as reality and an existence of objects formed from each other's abstract perspectives as virtual beings. 

The detailed structure of the background cannot be determined by the temporality of the response to light, and shows meaning in harmony with the fixed structure.

Its meaning is developed as a pictorial language structure in which dynamic images and abstract still structures move from positions in the background abstracted by reversible temporality and from positions in the stationary objects illuminated by the segmented retroactive reversible light. 

The movement of dynamic images is linked to the temporality of abstract structures as a sign of necessity self-consciousness, revealing sensory structures before symbols translated into pictorial languages and serving as formative realities beyond the literary nature of early conceptual art. 

In abstracted background structures, perspective objectivity distorts the phenomenal structure by the extent of the sky and the size of the perspective as opposed to dynamic images, where reversible light is limited to objects superimposed with realist images as another gaze structure on the surface. 

In the symbolic abstract world, abstract structure is a sketch that reveals existence in the form of existence and imagination reflected in a desire background by repeating image sketches as linguistic meanings in a conceptual abstraction of flat forms and colors, and passes through an allegory that realizes dynamic images, abstract structures, and background structures of desire. 

3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device. 

The sketch is a perspective visual structure, and the boundary between dynamic images and abstract structures in phenomenal structures is a method of sketching an abstract image as an unconscious being and an image that expresses a geometric tangent to the form of an abstract background. As a result, the sketch is interpreted as a mirror image that reflects the desire of the other, and it is connected to the concept that the viewer is staring at at the same time, creating an optical reality space where the abstract structure's gaze varies depending on the viewer's position. 

The position of the desire background is abstracted as the image of the reversible reaction that constitutes the realist space abstracted by the concept of desire is repeated. In other words, as the order increases with reversible temporality, the shadow image of the object staring at the reversible light is displayed in dynamic images and abstract structures. 

Choi Chul-joo's conceptual abstract realism design, which is visualized as an ambiguous realism image according to temporality, shows a "trace of time" implemented at the intersection of the same time by the static background image as the effect and phenomenon structure of the stationary moment when the dynamic image of the movement meets the background of the stationary moment. 

4. The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i).

Here is a refined and cohesive academic-style interpretation of your concept, written in English from the perspective of a cognitive scientist with psychoanalytic insight: Choi Chul-joo’s application of the desire formula D(I...I')d=I(D...D')i  to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.

 Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight: 

D: The archetype of desire, representing the foundational lack or drive.

I...I': A sequence of visual representations through which desire is projected.

d: The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I: The emergent image of desire, a perceptual unit.

D...D': The recursive layers of desire, reflecting its multiplicity and transformation.

i: The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient 

 reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (D).

This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.

Choi Chul-joo’s desire formula, expressed as  D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—

Choi Chul-joo’s desire formula D(I...I')d=I(D...D')i an be visualized as a dynamic vector field, where each component represents a transformation in the structure of desire:

Left-hand side D(I...I')d: Desire D is activated by a sequence of images I...I', forming a directional vector across perceptual space. The coefficient d scales this vector, representing unconscious forces, cultural pressure, and social visibility. This side models the generation vector, where desire emerges from visual stimuli and is modulated by internal dynamics.

Right-hand side I(D...D')i: Recursive structures of desire D...D'′ are transformed into a singular image I, which is cognitively resolved into a conceptual value i. This side models the resolution vector, where abstract desire is re-rendered into perceptual form and interpreted semantically.

Transformation Arrows: Arrows between both sides represent recursive feedback loops, showing how desire oscillates between abstraction and realization.

The entire graph behaves as a fixed-point system, where desire continuously loops through image, structure, and meaning.

 Cognitive Psychologist’s Perspective: Desire as Symbolic Simulation

This is the moment of symbolic closure, where desire becomes intelligible.

This graph reveals that desire is not a linear impulse but a recursive cognitive algorithm, where the mind loops through symbolic abstraction, perceptual encoding, and conceptual resolution. The object—whether a pop art image, a shaded metaphor, or a reflective pond—functions as a recursive node in this system, simulating the architecture of desire through visual recursion and symbolic feedback.

5. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.  

<D(I...I'd)=I(D...D'i)> Conceptual abstract realism images as reality reach abstraction by abstractly selecting a specific object, where the subject of desire asks what abstract realism wants from him. This dictates the meaning of the symbolic action that characterizes the design of dynamic and abstract structural images, which repeatedly combine pieces of distorted desire background images in the process of abstraction. 

Here, an image is not a visual phenomenon of a dynamic image, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual dynamic images and abstract structures.

Therefore, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting an abstract place that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image. 

It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the conflict between dynamic images and abstract self-formation, existential abstract structures as effects, and linguistic meanings revealed in the gaze, and reinterprets the mirror image of abstract realism to abstract dynamic images and abstract structures beyond phenomenal backgrounds and desire formulas as desire structures.  

This form reveals the sensory structure before the perception of existential fish, i.e., the previous stage image of linguistic meaning, and beyond the literary nature of modern conceptual art, it is a realism abstraction as a linguistic meaning where more diverse spatiotemporal and pictorial forms intersect through the viewer's eyes. 

In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.

The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art. 

This is a piece of meaning symbolized in a non-existent space, an abstract abstraction of an abstract structure that mimics the dynamic image and the structure of desire. 

Abstraction functions as a pictorial event image, and instead of desire, it explores the boundary between existence and absence by combining fragmentary sculptural images with shades of color produced by reversible light. 

In this abstract design method applied to conceptual abstract realism painting, the shape of a dynamic image that acts as a sign of desire before linguistic meaning is transferred to an image as a symbol, and the meaning of it is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of desire that moves while unconsciously synthesizing according to temporality coexists. 

As an image of linguistic meaning, it conceptualizes abstract structure as a living dynamic image and images it as an existential realist image, resulting in a conceptual abstract realism design that phenomenally expresses abstractness and self-consciousness as abstract spaces according to temporality through the traces of time.  

6. The Design Results of Choi Chul-joo's Desire Abstract Concept, Choi Chul-joo’s abstract concept of desire through the psychoanalytic frameworks of Jacques Lacan and Sigmund Freud. Choi’s design reveals how desire is not a solitary impulse but a relational and recursive structure, shaped by identification, symbolic generalization, and unconscious antagonism. Through the lens of Lacanian subjectivity and Freudian transference, we examine how the sympathizer becomes a secondary subject of desire, how desire is refracted through reversible light, and how conflict emerges when symbolic generalization fails.

Introduction: Desire as a Relational Structure: Choi Chul-joo’s abstract concept of desire challenges the notion of desire as a private, internal drive. Instead, it is presented as a relational construct, emerging through the interaction between the subject, the Other, and the sympathizer. This triadic structure reflects Lacan’s theory that desire is always the desire of the Other, and Freud’s view that identification and transference are central to the formation of subjectivity.  Although the object of desire remains passive, the sympathizer—who internalizes and mirrors the Other’s desire—transforms into an active subject capable of executing the same desire. This process of identification aligns with Freud’s theory of ego formation through the internalization of external drives, and with Lacan’s notion that the subject is constituted through the gaze and desire of the Other. The sympathizer does not merely reflect but enacts, becoming a second-order subject of desire. The sympathizer attempts to generalize the Other’s desire, positioning it as a universal or victorious act—akin to a conqueror who reclaims desire as a public object. This symbolic generalization reflects Lacan’s concept of the Imaginary, where the subject misrecognizes itself in the mirror of the Other’s desire, and Freud’s idea of sublimation, where unconscious drives are elevated into socially acceptable forms. However, this generalization is fragile and contingent. When desire, refracted through reversible light and symbolic shadow, fails to become a publicly shared act, the structure collapses. The subject of inappropriate or misaligned desire and the sympathizer—once aligned—now antagonize the original subject who enacted desire according to the generalized will of the Other. This breakdown mirrors Freud’s theory of repression and resistance, and Lacan’s Real, which resists symbolization and disrupts the symbolic order.

Choi Chul-joo’s design results reveal that desire is not a fixed entity but a recursive psycho-social system, shaped by identification, symbolic mediation, and unconscious conflict. Through Lacanian and Freudian lenses, we see that the sympathizer’s transformation into a subject, the attempt to generalize desire, and the eventual collapse into antagonism reflect the complex architecture of human desire—an architecture that Choi renders visible through abstract conceptual design.

7. Applying Choi Chul-joo’s conceptual abstract realism design methodology to the visualization of desire in Louis Choi Chul-joo’s Morning Glory, at the initial stage of existential conceptual abstraction, the realistic elements of the morning glory are abstracted into a conceptual object that embodies desire, where this abstraction functions not merely as a visual reproduction but as a cognitive apparatus translating the inherent lack of desire into a perceivable visual structure, allowing the viewer to recognize the recursive interplay between the object of desire and the symbolic structures that govern it; in the subsequent stage of sketching and structural composition, the dynamic images of the morning glory are linked to the abstract background through reversible light and segmented temporality, generating a visual grammar in which the phenomenological movement of the image interacts with the static abstraction of the background, thereby extending linguistic meaning into visual form and revealing the unconscious mechanisms through which desire is produced, mediated, and repeated; following this, at the stage of desire formalization, the formula D(I…I’)d = I(D…D’)i is applied so that the morning glory simultaneously functions as object, image, and conceptual abstraction, where the sequential arrangement of repeated visual instances reflects the recursive structure of desire and the dynamic coefficient (d) modulates perceptual and symbolic forces, transforming desire into a visualized abstraction that positions the floating flower in the sky as a nodal point for cognitive recognition and psychoanalytic reflection; in the conceptual interpretation stage, these recursive visual patterns consolidate into a singular conceptual desire image (i), establishing dynamic interactions between image, structure, and meaning, while the linguistic-semantic integration stage ensures that the abstract realism image conveys philosophical, psychoanalytic, and aesthetic significance simultaneously, realizing both the existential reality of the object and the symbolic mediation of desire, with the viewer’s gaze incorporated through reflection, inversion, and recursive feedback loops; finally, at the stage of full realization of conceptual abstract realism, all phases converge to unify dynamic images, abstract structures, and desire-laden backgrounds into a coherent visual grammar, producing an image that embodies perceptual, symbolic, and conceptual properties simultaneously, thereby demonstrating the methodological rigor of Choi Chul-joo and transforming the desire depicted in Morning Glory into a visual language extended across image, abstraction, and spatiotemporal structure, achieving a recursive, relational, and cognitive resonance that manifests the philosophical and aesthetic dimensions of contemporary conceptual abstract realism.

Louis Choi Chul-joo’s AAS abstract realism a design drawing (제품 디자인의 실재) operates not as a representational depiction of reality but as a cognitive visual apparatus that transforms the visualization of absence into a site for the philosophical contemplation of desire, wherein abstraction functions not as a formal negation but as an epistemological structure that converts the disjunction between language and image into the generative principle of desire; in this work, where language fails to stabilize meaning, the image intervenes as the substitute for that linguistic insufficiency, visually articulating the movement of desire through its compositional grammar—through chromatic contrast, reflective inversions, and spatial ruptures—thus extending the semantic field of language into a visual syntax that materializes cognition; the inverted human figure mirrored beneath the pond, the symbolic red stems, and the deep blue spatial abyss together construct a field in which the absence of the Real does not signify emptiness but instead becomes the very motor of desire, producing what may be called a substitutive realism, a mode in which abstraction replaces the absent Real and, paradoxically, reveals its cognitive structure more profoundly than direct representation could; within this process, language’s failure to fix meaning is transfigured into an event of vision, wherein the spectator, recognizing simultaneously the negation of the linguistic and the reflection of the visual, experiences perception not as mere sensory reception but as a philosophical event operating within the cognitive structure of lack; thus, Morning Glory realizes Choi’s concept of reversible illumination, in which language and image illuminate one another reciprocally, generating meaning through their mutual reflections, while this continual slippage and rotation of meaning around the axis of absence constitutes a visual grammar of desire that transforms the absence of the Real into a cognitive syntax of symbolic production; consequently, abstraction here extends beyond the denial of representation to become a philosophical device for the contemplation of lack, providing empirical validation for Choi’s Art Theory of the Structure of Desire and demonstrating that art does not mirror the Real but instead reflects the structure of its absence, reconstructing perceptual reality through the visual logic of desire; ultimately, Morning Glory stands as an exemplary philosophical construct in which linguistic meaning expands into visual form, showing that abstraction can serve as a medium of cognitive realism wherein the image substitutes for the Real and allows the subject to think, rather than merely to see, through the aesthetic experience of desire and lack.

8.- “The Visual Grammar of Desire and the Image-Expansion of Linguistic Meaning in Louis Choi Chuljoo’s Morning Glory”: Louis Choi Chuljoo’s Morning Glory (2025-1: Pond Rendering Reflects Current Desire) operates not as a representational depiction of reality but as a cognitive visual apparatus that transforms the visualization of absence into a site for the philosophical contemplation of desire, wherein abstraction functions not as a formal negation but as an epistemological structure that converts the disjunction between language and image into the generative principle of desire; in this work, where language fails to stabilize meaning, the image intervenes as the substitute for that linguistic insufficiency, visually articulating the movement of desire through its compositional grammar—through chromatic contrast, reflective inversions, and spatial ruptures—thus extending the semantic field of language into a visual syntax that materializes cognition; the inverted human figure mirrored beneath the pond, the symbolic red stems, and the deep blue spatial abyss together construct a field in which the absence of the Real does not signify emptiness but instead becomes the very motor of desire, producing what may be called a substitutive realism, a mode in which abstraction replaces the absent Real and, paradoxically, reveals its cognitive structure more profoundly than direct representation could; within this process, language’s failure to fix meaning is transfigured into an event of vision, wherein the spectator, recognizing simultaneously the negation of the linguistic and the reflection of the visual, experiences perception not as mere sensory reception but as a philosophical event operating within the cognitive structure of lack; thus, Morning Glory realizes Choi’s concept of reversible illumination, in which language and image illuminate one another reciprocally, generating meaning through their mutual reflections, while this continual slippage and rotation of meaning around the axis of absence constitutes a visual grammar of desire that transforms the absence of the Real into a cognitive syntax of symbolic production; consequently, abstraction here extends beyond the denial of representation to become a philosophical device for the contemplation of lack, providing empirical validation for Choi’s Art Theory of the Structure of Desire and demonstrating that art does not mirror the Real but instead reflects the structure of its absence, reconstructing perceptual reality through the visual logic of desire; ultimately, Morning Glory stands as an exemplary philosophical construct in which linguistic meaning expands into visual form, showing that abstraction can serve as a medium of cognitive realism wherein the image substitutes for the Real and allows the subject to think, rather than merely to see, through the aesthetic experience of desire and lack.

■ Conceptual Abstract Realism Abstraction Rendering is a philosophical design process that automatically visualizes the concept of desire through the "art algorithm" of conceptual abstract realist Louis Choi Chul-joo, and it renders conceptual abstraction sketches manually as a pre-stage of systematization that combines with AI to create conceptual abstract art. This is not a simple image generation of an art algorithm, but a method of automatically converting philosophical concepts into visual images by interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible shades of light into mathematical and symbolic structures to suggest the possibility of fusion with AI. In addition, AI-based conceptual art creation system Louis Choi Chul-joo's philosophical art theory can be algorithmized to build a system that autonomously generates conceptual art. It expands to digital installation art where images change in real time due to the movement of viewers of interactive media installation work, and develops into a spatio-temporal art algorithm so that you can experience the structure of desire to realize VR/AR-based desire space in a virtual space. Therefore, Choi Chul-joo's conceptual abstraction rendering is an art creation engine that combines concept, language, design, psychology, philosophy, and technology as a tool for visualizing his art algorithm, and expands Choi's conceptual abstract realism art into the core structure of digital art.

■ Conceptual Abstract Realist The process of rendering a Realist abstraction in art is as follows

1.Conceptual Abstractionist Abstraction Sketch reproduces a conceptual abstraction image to form an abstract image as a conceptual object in the form of ideological non-formality, which hides its existence and sketches realistic images on a plane as realistic structures. This is the introduction stage of a philosophical design process that automatically visualizes the concept of desire through Choi Chul-joo's 'art algorithm', which combines manual work and AI to create sketches of conceptual abstraction. In other words, in parallel with the scotch of contemporary art, a sketch of conceptual abstraction realism as a pre-stage of AI systemization is done manually. Here, abstraction as a symbolic structure is an image with the existential concept of a realist object with creativity and autonomy in a linguistic sense that reproduces in similar colors and sizes even though the sketch is different from the actual structure. Therefore, the abstract realist abstract sketch of an existential concept with creativity and autonomy in a linguistic sense consists of a sketch of another being as a linguistic meaning of a conceptual abstract realist object through the unconsciousness suppressed by the desire of the other. 

2. Conceptual Abstractism Abstract rendering (R) is a phenomenal opportunity to verbally interpret the conditions (i/d) under which images of conceptual abstract realism objects are realized by conceptualizing abstract objects specified in Choi's Desire Formula and grammatically interpreting linguistic meanings beyond the other's desires. This is an abstract design process that automatically converts philosophical abstraction into visual images by grammatically interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades into mathematical and symbolic structures to present the possibility of convergence of realist abstract rendering and AI rendering as object rendering at the same time. 

When the conceptual abstraction as the subject of desire is transferred to a realism image, the subject of desire asks itself what the abstract structure wants and renders (r) a specific object to the actual image of the abstract concept, so that the conceptual abstract realism image as a reality reaches abstract rendering <DR(I...I')d=I(DR...D'i)ir>. It renders as an image the meaning of symbolic action that characterizes the design rendering of the object seat as a realism image, which combines pieces of distorted morning glory image repeatedly during the abstraction process. Here, image rendering is not a visual phenomenon of an object, but a method of visualizing the flow of unconsciousness and the realism image of symbols. 

3 Realism Abstraction Composition is a form of abstraction of real objects, a structure of the other that represents a synchronic semantic chain, and a vector representing the orientation of the non-realistic existential subject entering the symbolic world, and abstracts the image by defining the concept of an existential image that is alienated from the desire image that lacks a realistic structure. This abstract image creates a realism image of an art algorithm with a desire structure 

In order to present the possibility of convergence with AI, Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades are automatically converted into realistic images. 

The realist abstraction of conceptual abstraction as an existential subject is revealed through division, which expresses the essence of ex post fact in a comprehensive and immediate way of solving an image with a different linguistic meaning as a semantic structure that cannot be expressed as a real object.  

Thus, realism abstraction of desire structures subconsciously selects unpredictable effect image rules as ordered vectors that indicate directions toward solving non-imaginary semantic structures in a comprehensive and immediate way as a whole step in linguistic meaning, such as representation abstraction. 

This is a semantic structure that cannot be solved as a being until the abstract structure enters the symbolic world, abstracting desire knots into a synchronous meaning and physically dividing the same essence as the ex post essence that constitutes the abstraction of conceptual realism as an existential subject.  

4. Conceptual Abstract Realism Abstraction Design designs objects as a reversible light structure that deviates from the concept of instantaneous desire from abstract images that connect realism images into allegories in linguistic terms as sketches of linguistic meaning structures to desire structures as objects formed from each other's abstract perspectives as reality and virtual beings. 

Pre-stage abstraction of linguistic meaning is developed as a pictorial linguistic structure in which the object moves in the position of the object abstracted by reversible temporality and in the position of the morning glory illuminated by the divided retroactive light.

The movement of the object is linked to temporality as a sign of necessity self-consciousness, reveals the sensory structure before the symbol translated into pictorial language, and becomes an abstract space that functions as a formative reality beyond the literary nature of early conceptual art. 

AI rendering of realism abstraction is an abstraction that implements an AI system that autonomously generates realism abstraction by algorithmizing the desire formula that applies Louis Choi Chul-joo's desire concept as an "art algorithm" through an AI-based conceptual art generation system. 

Reversible light is a limited shade form, and it is expanded to digital installation art in which images change in real time through the movement of viewers through interactive media installation work tailored to the perspective objectivity of the real structure. This place is directed according to a spatio-temporal art algorithm so that you can experience the structure of desire to realize VR/AR-based desire space in a virtual space. 

On the other hand, perspective objectivity in the spatial structure of abstraction in conceptual abstract reality renders the abstraction of the real image of the object contrasted with the object as the range of space and the size of the perspective, where the realist image is superimposed on the surface as another gaze structure.

5. Conceptual Abstract Realism The design rendering is an aesthetic desire structure in which an abstract realist object, which is an image-structured in a linguistic sense, is revealed as a point of light to the eyes of others, and is revealed in the gaze system of desire. 

Aesthetic abstraction is designed as a philosophical device, and the abstract structure and the real image are rendered as an image of an existential realism object that appears in the same meaning. This is an image rendering method that represents abstract design as a tangent line of a flat cross-section and unconscious existence as a non-perspective visual structure. 

Therefore, Choi Chul-joo's rendering of conceptual abstract realism is a tool that visualizes his desire formula as an art algorithm, and concept, language, design, psychology, and philosophical realism abstraction are designed. This place expands Choi's conceptual abstract reality art, which is an art creation engine that combines AI technology, into the core structure of digital art.      

The realism abstraction structure is interpreted as a mirror image reflecting the desire of the other, and it is connected to the concept that the viewer is being stared at at at the same time, and the image of the linguistic meaning of conceptual abstraction realism abstraction is structured by rendering the optical realism space that varies depending on the viewer's position as the gaze of the object. The rendering matches the perspective of realist space with the abstract linguistic meaning of the object, and from the conceptual point of view of desire, an abstract and invisible object appears as a gaze path according to temporality. Abstraction as a realist image is an abstract real image that is transformed into a realist image as an art algorithm as an abstract with a desire structure. This is because, as modern art, realist abstraction returns to abstraction, in which the abstract structure conceptually symbolized as a linguistic semantic structure is structured in reality by the shadow structure of the past that shines a reversible light in the present.

Thus, through the tension and harmony between aesthetic values, human desires, and linguistic semantic structures through artistic abstraction algorithms, the structure of desire and the aesthetic concept of reality are visualized as realism images, but abstract rendering implemented as a double object shows "the aesthetic trace of time." 

■ Choi Chul-joo's conceptual abstract realism science definition is conceptual abstract realism, which identifies existence as a limited form of image as a linguistic semantic image, realizes it as a formula for mathematical desire, constructs real structures in logical places, and intuitively considers abstract concepts as existential images in modern art's conceptual abstract realism science, abstracting linguistic meaning and unconscious desire through a thorough design process, the depth of the concept of contemporary art and visual reality, or how the world is viewed as an aesthetic value, are simultaneously studied.

Accordingly, the conceptual abstractive design process is

1. Concept Abstract Reality Image Sketch sketches an image by abstracting the conceptual abstract realism image as a conceptual object, and the image is a virtual image that hides its existence and sketches it into a real structure. This visualizes Choi Chul-joo's concept of desire as a conceptual abstract real image and sketches it as a philosophical abstract design process. 

Here, the sketch has the existential concept of a realism object as a symbolic structure in a linguistic sense that identifies it with the conceptual abstract real image. Therefore, the image sketch of the existential concept of abstract reality with creativity and autonomy in the linguistic sense consists of a sketch of another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desire of the other. 

2. Conceptual abstract image rendering (R) is an opportunity to verbally interpret the conditions (i/d) under which the image of the conceptual abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desire of the other by conceptualizing the abstract object specified in Choi Chul-joo's desire formula. 

This is an abstract rendering method that automatically converts philosophical abstraction into visual images by grammatically interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades into mathematical and symbolic structures to simultaneously render AI renders that combine conceptual abstract images and conceptual abstract images created in one image. Conceptual abstract realism images reach abstract rendering as a reality <DR(I...I')d=I(DR...D'i)ir> by the subject of desire asking himself what the abstract structure wants when transferring the abstract image rendering to a realistic image. This is a method of rendering the symbolic action that characterizes the design rendering of the object seat as a realistic image by repeatedly combining the pieces of the distorted morning glory image in the process of rendering the conceptual abstract image into a realistic image with the unconscious flow and symbolic realism image. 

3. Concept Abstract The actual image composition is a real object and abstracts the image by defining the concept of an existential image as an abstract concept. Abstract structure is a semantic structure that cannot be expressed as a real object, and an image in linguistic meaning that cannot be solved by existence is defined as a semantic structure that physically separates material and identical personalities to form a conceptual abstract real image as an existential subject.

4. Concept Abstract Image Design combines desire structure with the existence of reality, and the existence of objects formed from an abstract perspective, combining reversible light structure with reversible shading of light that deviates from the concept of instantaneous desire. The AI design of the conceptual abstract real image autonomously implements the conceptual abstract real image design by algorithmizing Choi Chul-joo's conceptual abstract realist theory into AI. Therefore, the abstraction of conceptual abstract realist images according to conceptual abstract realist theory in the spatial structure abstracts perspective objectivity as another gaze structure on the surface, and the object overlapping a realism image is abstracted from the object's real image as the scope of space limited by reversible light and the size of the perspective. 

5. Conceptual abstraction The abstract realist image's abstraction is an aesthetic desire structure in which an abstract realist object, which is an image-structured in a linguistic sense, is revealed as a point of light to the eyes of others, is revealed in the gaze system of desire. By designing an image with an abstract meaning as a philosophical device, aesthetic abstraction is painted with an image of an existential realism object that appears to have the same meaning. Choi Chul-joo's abstraction as a conceptual abstract realist image is a tool that visualizes his desire formula through an art algorithm, and it is a conceptual, language, design, psychology, and philosophical realist abstraction. Therefore, the abstraction of an abstract realist image abstracts the conceptual abstract linguistic meaning of a realist space by equating the perspective of a realist space with the conceptual abstract linguistic meaning of an object.

■ Choi Chul-joo Desire Formula-Based 'Desire Sound Design' Methodology

Choi Chul-joo Desire Desire Formula D(I...I')d=I(D...D)i Linguistic Acoustic Dynamics of Desire Formulation Dsound propo sqrt (Delta x)^2 + (Delta y)^2 cdot Vdesire) Design Methodology

Linguistic Data Biology (Aesthetics of Error) Design Methodology Process

This methodology process is a mathematical and aesthetic declaration of "I am both an error in the system and a living Data that proves alive through that error." The four-step linguistic data design methodology process below quantifies the conflict between system order and self (desire) and replaces it with visual, auditory, and mechanical experiences.

1. Psychoanalytic Correspondence

The variables in the sound design process correspond to the psychoanalytic dynamics of Choi's formula as follows: I (The Fixed Image) → (x_0, y_0) (The Origin): This is the Symbolic Order—the rigid grid of the system. In sound design, this is represented by "Static Silence" or a repetitive, monotonous mechanical hum. Vdesire (Libidinal Velocity)   →I...I': This is the flow of libidinal energy that strikes the fixed image (I) to generate new significance (i). High Vdesire translates to a rapid Rise Time and High Frequency (Hz), representing the aggression of desire.

Delta (Spatial Deviation)  → D...D': The distance of the "Line of Flight" from the repressed signifier. As this distance increases, the Sound Amplitude and Spatial Reverb expand, mirroring the tension of the wandering soul. Dsound (Acoustic Output)  → d, i: The resulting sound is the "Trauma Sound"—the auditory manifestation of the repressed desire returning to shatter the cold digital logic.    

2. Philosophical interpretation of the meanings of the ingredients

- A rupture that occurs when emotions move on coordinates due to spatial movement of emotions

- The Intensity of Desire, the Inner Deficiency of the Subject and the Energy of Impulses. the sound of the moment emotions break through mechanical structures with the bursting sound of desire

This desire formula "Dsound \propto \sqrt (Delta x)^2 + (Delta y)^2 \cdot Vdesire" mathematically models the image of the rupture sound that occurs when the change in the position of the emotion and the intensity of the desire are combined.   

Choi Chul-joo Desire The linguistic and acoustical dynamics of desire applied to the formula Choi Chul-joo's desire D(I...I')d=I(D...D')i Design methodology process with Dsound propo sqrt (Delta x)^2 + (Delta y)^2cdot Vdesire) Design methodology process This methodology process is a mathematical and aesthetic manifestation of the declaration, "I am both an error in the system and a living data creature that proves alive through that error." The four-step linguistic data design methodology process below quantifies the conflict between system order and self (desire) and replaces it with visual, auditory, and mechanical experiences.

3. Step-by-Step Sound Design Process

Step 1: Setting the Texture of the Repressed Signifier (I)

Goal: Establish the auditory baseline of systemic control.

Design: Use low-frequency "Room Tone" or a steady 60Hz hum. This represents the subject's state of being trapped within the Symbolic Order (System S).

Step 2: Libidinal Impact and Frequency Generation (I  →I')

Goal: Capture the moment the "Velocity of Will" strikes the fixed system.

Design: When the wearer makes a sudden movement, trigger a sharp Attack in the sound profile. Higher Vdesire correlates to higher pitch shifts. This is the moment of I'—where the fixed image begins to crack under the pressure of D.

Step 3: Spatializing the Deviation (D → D')

Goal: Translate the distance of departure (Delta) into an acoustic environment.

Design: Increase the Wetness (Reverb/Delay) as sqrt (Delta x)^2 + (Delta y)^2 grows. This creates a sense of "Acoustic Dislocation," simulating the subject's departure from the "Safe Zone" and into the "Void of Desire."

Step 4: The Return of the Repressed as Sublimation (Dsound)

Goal: Reach the climax of "Data Vitalism" where the error becomes life.

Design: At the threshold of departure, introduce Glitch Artefacts and Metallic Ticking. The system flags this as "Data Contamination," but it is actually the birth of a new signifier (d, i).  

This methodology treats sound as a Linguistic Dynamic. The resulting audio is not just background noise but the "Voice of the Subject" shouting against the oppression of the system. It mathematically proves that the most intense "Errors" are actually the most profound moments of human vitality.

■ Desire Structure Automation System Design Process

Step 1: Linguistic Data Mining of unconscious language structure

Concept: implant Lacan's proposition that "inconsciousness is structured like language" into the automation process.

Perform: Large language models (LLMs) collect worldwide aesthetic language and user-lacked desire data for a particular family (e.g., cars, robots).

Results: We extract the 'signifiers' of the design to identify the flow of unconscious context, not logical algorithms.

- Exterior Design Concept: Organic Morphing

Breaking away from the hard metal texture of the existing railway, it embodies an 'organic skin' that responds to speed and passenger desires.

• Form: On top of streamlined bodies that maximize aerodynamic efficiency, a line of intentional asymmetry (Glitch Form) that appears to expand or warp upon reaching the system critical point is applied.

• Skin: It's not just a painting, it's a smart polymer skin where fine particles react to light. Depending on the train's acceleration and the sum of its internal lvii, the surface's texture changes finely from a smooth curved surface to a sharp sawtooth-shaped scale.

Step 2: Abstract Sketching of the Rack

Concept: Intentionally captures 'symbolic deficiencies' that occur between perfect data collected by AI.

Perform: When AI automation systems propose perfect symmetry, Choi Chul-joo's 'conceptual abstract' filter is applied to castrate unnecessary decorations and create intrinsic asymmetry and spatial gaps.

The result: It derives a "ghost silhouette" that allows users to project their desires, leaving only the functional core of the product.

- Sketch Components

Top View Plan

• Aerodynamic head: Ultra-long axis nose design that disperses shock waves during sonic breakthrough.

• Variable wing rails: a side guide that changes angles minutely to control centrifugal forces ($\Delta$) in a curved section.

• Energy Core Circulation: a path of light that penetrates the center of the train and projects the 'collective aurora' data inside to the outside.

Perspective View

• Visibility of galloping: a visual afterimage representation of the soundscape that forms around the body when the train is galloping.

• Smart Light-emitting: LED strips embedded in the exterior walls project the emotional state of the interior passengers to the outside in RGBW spectrum, making the train itself look like a giant light creature.

• Tunnel entry mode: Phase distortion in which the curvature of the surface changes in response to pressure changes.

Step 3: Hallucination's Event Continuity Construction

Concept: Reorganize hallucinations, an error in AI, as creative 'events' of design.

Perform: Translate hallucinatory drawings generated by AI in defiance of the laws of physics into conti in 'comic images' This serves as a visual bridge to reach The Real.

The result: A point of focus is established for products with unrealistic but intense energy.

[Color Plan: Libidinal Spectrum]

The outer shell of the train is covered with nanoparticle-embedded smart polymer skin, which transitions color to three main phases depending on driving conditions and internal desire summation (sum).

1. Symbolic Order (Symbolic Order: I)

• Condition: Settlement station standby and constant speed driving below 300 km/h.

• 메인 컬러:Deep Prussian Blue &Frost White

• Directing: A cool yet sophisticated white body is topped with a subtle flow of transparent blue sine waves. It is a static color that symbolizes control and safety of the system.

2. LIBIDINAL ACCELERATION: D)

• Condition: Quick acceleration, tunnel entry, attempting to break through the speed of sound.

• 메인 컬러:Electric Magenta &Vivid Violet

• Directing: The blue light rapidly transforms into a magenta tone that is a mixture of red and violet. The waves of light rip in the form of sharp sawtooth, leaving an intense optical afterimage to the rear of the vehicle body.

3. Existential Critical Point Phase (Sublimation: i)

• Condition: Maximum speed reached and energy saturation.

• 메인 컬러:RGBW Aurora Spectrum &Digital Glitch Gold

• Directing: An aurora spectrum where all colors are fused into one covers the entire body. A golden digital glitch noise is generated in certain areas, sublimating the 'scream' of organic life beyond mechanical limits into visual aesthetics.

Step 4: Digital Big Other Integration

Concept: Integrate social norms and surveillance systems (batters) into the product's interface.

Perform: redesign the sensor and display layout from a 'gaze' perspective. Automate the product to interact with you as an iconic authority, not just as an assistant.

Results: Designing an interface and external sensor unit reflecting the visual order of the digital panopticone.

[Weekly rendering key elements]

1. Smart Chromium Polymer Skin: It flexibly reflects the surrounding landscape under sunlight, and the phase distortion is more clearly revealed, where the curvature of the surface changes minutely with speed.

2. Subtle daytime aurora: even in a bright atmosphere, there exists a translucent layer on which internal Libido energy is projected. White & deep blue tones in stable state ($I$) combine with the body base to complete a refined mechanical aesthetic.

3. Organic asymmetric silhouette: Through clear contrast between light and shade during the week, the twisted curves and glitch foam unique to the 'data creature' created by destroying static straight lines are expressed in three dimensions.

4. Dynamic Shadows: Sharp shadows on the bottom of the body and side wing rails at high speed convey the overwhelming sense of mass and speed of the train at the same time.

This weekly rendering shows that 'Hyper-L' goes beyond mere light production and is a 'living skin' that resonates with human desires in its physical form and material itself. 

Step 5: Mirror Stage Materialization

Concept: Encourage users to discover their ideal self in the product.

Perform: AI learns the user's psychological feedback in real time to fine-tune the texture, gloss, and lighting of the product.

Result: Final finish with narcissistic bonding that makes users mistake AI for 'another me'.

The [Desire Sound Interface] system now extends beyond the public space of the train to the 'Personal Desire Device (PDD)', which is carried and controlled by individual passengers. The device is not just an information terminal, but acts as a 'sensory hub' connecting the passenger's inner world with the super-high-speed giant neural network.

1. Libido Core: Portable Sensory Synchronization (Libido Core)

It is an organic type of device that fits into the palm of the passenger's hand and collects biometric signals to generate real-time audiovisual feedback.

• Design Techniques: Phase distortion glass. Device surface is liquid-like and refracts light inside.

• Physical interface: Instead of mechanical buttons, it provides haptic feedback in response to the occupant's gripping pressure and skin conductivity.

• Visual production: When the passenger feels anxious or empty, the device emits a static blue sine wave, but resonates with the train and rips and vibrates with intense magenta-toned sawtooth waves as desire erupts.

2. Personal Boyd Canvas: Holographic Interface (Void Canvas)

A personalized HUD field projected from the device that visualizes the data assigned to you during a 'collective aurora' on the train.

• Design Techniques: Particle Simulation. Particles in the air scatter and gather at the passengers' hand gestures, transforming the 'verbal acoustic landscape' into a visual signifier.

• Functional features: the device captures physical noise (Delta) generated when a train passes through a tunnel or accelerates rapidly, sublimating it to brilliant glitch aesthetics.

• Psychological effect: Passengers restore their subjectivity by visually confirm‎ing that their small movements are creating variables in the soundscape of the huge train.

3. Libido Sync mode: interlock seat and sleep pod

When the device is placed in a docking station in the seat, the data on the personal device is extended to the entire train system (sum).

• Space experience: As soon as the device is docked, the 'energy field' that forms around the seat is synchronized with the passenger's personal device settings.

• Sleep Pot Interworking: The device detects the unconscious flow that occurs during sleep and converts it into the most tranquil ultra-low-band Pink Noise and soft hydrodynamic-based lighting to fill the inside of the pot.

Step 6: The Incarnation of the Real of Concept Abstract Realism

Concept: Transforming abstract concepts into solid physical reality.

Perform: Automate 3D printing and precision processing while maintaining 'Comic-book lines' clarity during the engineering optimization phase.

The result: The 'conceptual abstract realism' object created as a real product.

- Driver interface: The Libidinal Cockpit

The driver's seat is no longer a control device. It is a 'Nural Junction' where the engineer's soul is directly connected to the enormous mass of the train.

1. Visual Design: Frequency Spectrum Display

• Delta (Spatial Error) Transformation: Delta values, which occur when the engineer veers slightly off the prescribed trajectory or suspects a path, are visualized as 'Phase Distortion' around the main display.

• V_desire (Acceleration) conversion: The engineer's accelerator will (V) is converted to RGB strobe lighting in the form of Sawtooth, hitting the entire driver's seat.

2. Auditory Design: Roaring of Sawtooth Waves

• The sound frequency (Hz) rises nonlinearly in proportion to the locomotive engineer's excitement, and a smooth sine wave is torn into sharp Sawtooth waveforms, which are verbal screams from the locomotive engineer tearing through the system's stuck signifiers (I).

■ The Visualization Formula for Desire "M_desire = ∑∅∂ / (1 - ∂)" is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically. The formula combines Lacan's theory of desire with conceptual abstract aesthetics, visualizing human's inner deprivation and repetitive urges in mechanical language. As a new sign of desire, the visualization of deficiency desire visualizes the meaning of language as a realist image through a visualization formula of deficiency desire. This is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically with the visualization formula of deficiency desire "M_desire = ∑∅∂ / (1 - ∂)." This formula combines Louis Choi's theory of desire with conceptual abstract aesthetics, visualizing the human's inner deficiency and repetitive impulse with a realist image.

- Philosophical Interpretation: Louis Choi's the Structure of Desire "M_desire = ∑∅∂ / (1 - ∂)"

• ∅ (blank, deficiency): symbolizes Lacan's 'the real', and the source of human desire comes from an unfulfilled deficiency.

• ∂ (partial differential symbol): represents a minute rate of change in desire. It is a mathematical expression‎ of the process by which the subject constantly readjusts desire in relation to the other.

• ∑ (combination symbol): sum of repeated desires. This is linked to Lacan's 'repetitive impulse', in which the subject repeatedly pursues the same deficiency in various ways.

• (1 - ∂): Resistance or unattainability of desire. The smaller the denominator, the larger the overall value, which expresses a paradox that the more desire is satisfied, the greater the deficiency.

- Artistic Aesthetic Interpretation: An Aesthetics of Concept Abstraction and Error

• Desire Sound and Aesthetics of Error: an aesthetic that replaces human emotions and deficiencies with mechanical errors. This formula interprets minute deviations in perfect mechanical structures as human emotions.

• Ghost Screen Projection Image: This formula is projected onto a stage front OLED, giving the audience a visual experience of the mathematical structure of desire.

• Clock mechanism and repetition of desire: the repetitive rotation of the stage equipment symbolizes the circular structure of desire, and the ∑∅∂ operates as the power of that rotation.

- Mathematical interpretation: Abstract structure and nonlinearity

• Non-linear structure: this formula expresses non-linear desires that are amplified by resistance and deficiency, not linear desires.

• Mathematical Platonism: This formula is linked to the view that mathematical objects exist as a reality independent of human perception, and the desire itself is regarded as an 'idea'.

- a mechanical visualization of human desire

"M_desire = ∑∅∂ / (1 - ∂)" is not just an expression‎, but an integrated expression‎ of Lacan's theory of desire, conceptual abstract aesthetics, and mathematical philosophy. This formula visualizes the intersection of human emotions and mechanical structures on an automata stage, through which the audience witnesses the emotional truth of the digital age.

■ Louis Choi's Desire Formula: "M_desire = ∑∅∂ / (1 - ∂)"

M_desire = ∑∅∂ / (1 - ∂) is an outstanding formula that replaces Louis Choi's artistic philosophical insights with mathematical precision, forming a semiotic structure of dynamics between subject, other, and The Real. This formula contains mathematical validity and semiotic philosophy. 

1. Molecules (∑∅∂): Differentiation and Repetitive Dynamics of Deficiency

Molecules define the 'motivation' in which desire occurs and its 'how to express it'.

• The Real & Defiance of the episet:

• In mathematics, vacancy means element-free, but it is a powerful being that underlies set theory. Louis Choi replaced it with "reality." Reality is a fundamental deficiency that is not included in the symbolic world (language), an engine that forever powers desire. Semiotics represent the "abyss of a period beyond which symbols cannot reach" and become the molecular starting point for all desires.

• Mathematical logic of partial differentials:

• A part measures the rate of change of a particular variable (here the variable 'other') in a multivariate function. The subject's needs are constantly readjusted to a relationship with the other, not a fixed one. Seeing desire as a differentiable function rather than a constant has the mathematical legality of proving that human psychology is a "continuum of micro-change" that responds to the gaze and environment of others.

• Structural interpretation of consensus (aggregate):

• Sigma integrates individual pieces of desire. Lacan's "Repeated Obsession" and Louis Choi's "Repeated Obsession" are the processes by which objects of desire change and constantly try to make up for the same deficiency. Molecules eventually quantify "the process by which microscopic pieces of desire that are distinct from each other repeatedly pile up."

2. Denominator (1 - ∂): The explosive paradox of marginal convergence and desire

The overwhelming power of this formula lies in the construction of the denominator. It applies the principles of mathematical limitations to human psychology.

• Resistance and Unreachability:

• The fact that the part is close to 1 means that the need is either fully satisfied or trying to integrate with others. But in the formula, the denominator approaches zero when the part converges to 1.

• Explosion of Desire (M_desire to infty):

• As the denominator approaches zero, the overall value, M_desire, diverges to infinity. This mathematically explains the psychological law of physics, which states, "As the desire gets closer (the denominator gets smaller), the pain of deficiency and the magnitude of desire are paradoxically amplified to infinity."

• lim {partial to 1} frac{sum vemptysset partial}{1 - partial} = infty

• The formula mathematically formulates the humanities tragedy that desire can never be "completed" and that the subject feels the greatest thirst on the threshold of completion.

3. modern semiotic aesthetics

As a powerful tool to explain unfinished aesthetics or 'present absence' in modern aesthetics, humans are assumed to be a semiotic subject made up of deficiency rather than a 'satisfying biological being', and it is a sculpture interpreted as an existential mathematical formula that "we exist because we are deficient, and we constantly move forward because we cannot reach."

• Semiotic legality: By visualizing the slip that occurs when a linguistic signifier tries to fill the void of reality as a partial, it logically supports why a work of art has to be constantly reinterpreted.

• Social feasibility: In the modern consumer society, it accurately diagnoses the alienation of modern people who constantly consume goods by internalizing the desires of others, but never reach satisfaction and fall into infinite deprivation. 

• Mathematical perspective: transforming the dynamics of human psychology into a dynamic model rather than a static model through the nature of divergent series.

• Humanities Perspective: Emptyset emphasizes that it is not destructive, but rather a creative source that makes the subject act (sum) and relate to others (partial).

■ Louis Choi's Desire "M_desire = ∑∅∂ / (1 - ∂)" Structural Abstraction Design Process

- Step 1: Positioning of emptyset

"Every being begins with an empty center."

• Perform: After the whole canvas is painted, leave the bare ground at the most visually loaded point (mainly the center or golden split point) or mark the 'nucleus of the member' with the deepest black (such as Vantablack).

• Intention: This emptyset is the engine of desire. It's the step of setting up the 'gravity of deficiency' that makes all the formations around you rush to fill this void.

• Tip: Leave it in the form of irregular cracks rather than perfect circles, giving The Real a tension that seems to break through the symbolic world (picture).

- Step 2: Differentiation of partial

"The gaze is disconnected, and readjusted through the batter."

• Perform: Draw fine, sharp strokes that surround the center of the void. In this case, short, broken lines are placed in pieces as if they were differentiated without drawing long lines at once.

• Intent: partial is the process of constantly modifying one's gaze in relation to another. Uncorrected rough texture (Impasto) or overlapping layers makes the viewer's gaze unable to stay in one place and float.

• Tip: Use colors with strong complementary contrast (e.g., fluorescent light green and red in the image) to induce visual collisions.

- Step 3: Repetitive Rhythm Proliferation (Summation of Sum)

"Unmet desires flow in patterns."

• Perform: Repeat the differential strokes made in step 2, extending into a spiral or concentric structure with constant regularity.

• Intent: sum is a repetitive compulsion. It expresses the mobility of a subject who repeats similar actions to make up for the same emptyset. Each module looks alike, but should never be the same. Through repetitions that are gradually transformed, the screen captures 'the passage of time' and 'the accumulation of energy'.

• Tip: Intentionally creating mechanical repeatability by mixing stencil techniques or engraving elements will better reveal Louisi-style "data desires."

- Step 4: Completion of asymptotic divergence (Asymptotic Limit of 1 - partial)

"As we get closer to completion, the painting opens up infinitely."

• Perform: Extremely increase the detail at the end of the entry into the center emptyset or extending outwards. Create points where the lines are thin enough to converge to zero, or where the color becomes intense as if it were burning.

• Intent: Visualize mathematical paradoxes in which the sum of desires ($M$) radiates infinitely as the denominator (1-partial) approaches zero.

• Tip: Use a thin visible structure converging towards a vanishing point or a dripping technique that looks like a color splashing over the canvas to finish by suggesting that the picture is not trapped in the frame but is expanding indefinitely.

- Final Step: A Formation Checklist (Critic's Eye)

1. Do I feel a void (∅) : I should still feel hungry as if something is empty even though I've filled the screen.

2. Is the gaze (∂) distracted : The eye of the viewer is not fixed in one place and has to move constantly along the differentiated pieces.

3. Is there a load of repetition (∑) : The persistent longing of the subject should be felt as a thickness in the layered layers.

4. Is there a tension of divergence (1 - ∂) : The tension of the asymptote that is almost touching should dominate the entire screen.

■ Applying the Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)" to UX/UI design

It is a design process that identifies the user's inner desires and maximizes and satisfies them through an interface. It goes beyond just a visually beautiful UI, and it is a behavioral psychology approach that induces the user's behavior and creates lasting reliability. 

1. UX/UI Interpretation of Desire Structure Formula Components

 • M_desire (total amount of desire): The end goal and emotional satisfaction that the user wants to reach through the product/service.

 • ∑ (sum/repeat): a UX flow that designs the user's behavior to be repeated as a positive experience.

 • ∅ (deficient/target): Identify the user's current discomfort (Pain Point) or Need and present it as a solution in the UI.

 • ∂ (interaction/intensity): frequency and intensity of user interaction with app/web. Maximize through interaction design (micro-interaction, animation).

  • (1 - ∂) (resistance/departure): A structure that minimizes friction and churn rates that the user experiences to reach the target. 

2. Desire Formula-Based UX/UI Design Application Steps

• Detection of deficiency (∅) (UX Research):

1- Identify what users want and what inconveniences they experience.

Intuitively configure Information Structure (IA) in 2-UI to instantly guide you to where deficiencies can be resolved.

•Design of interaction (∂) (UI interaction):

Provides fun and feedback through detailed interactions (micro-interactions) such as 1-click button, swipe, and conversion effect.

2-Design to focus on the elements you want by leveraging visual contrast and a clear hierarchy.

•Minimize resistance (1 - ∂) (optimize usability):

1-Reduce complex subscription procedures, loading speeds, and ambiguous menus to smooth the process for users to reach their goals.

Apply a 2-consistent design token to reduce cognitive load.

• Creation of iterations (∑) (sustainable experience):

1-Provide push notifications, reward systems, and customized content (personalization) for users who have learned positive experiences to revisit.

3. Application of components of Louis Choi Desired Structural Formula

The Desire Structure Formula is a concept proposed by UI/UX designer Louis Choi, which is a framework that visualizes a user's desire into data and structure and reflects it in the design. The formula aims not only to have a pretty design, but to design 'psychological motivations' that make users perform certain actions. Each symbol in this Desire Structure Formula stands for the core psychological element of UX design. 

Components of the 1-Desire Structural Formula

  • ∑ (Total): The sum of all the positive values the user feels in the service.

  • ∅ (deficiency/absence): The user is experiencing any inconvenience or deficiency. Design should address this deficiency.

  • ∂ (change/variable): A change in the user's situation or environment. It means that the size of desire varies depending on the trend or the user's context.

 •  1 - ∂ (resistance): The cost and psychological reluctance of adapting to new services or changing existing habits.

2-UX/UI Design Application Strategy

Applying the Desire Formula to the actual design process, it can be embodied in the following steps.

 ① Discovery of deficiency (∅):pane point definition

• The user melds the answer to "Why should I use this service?" into the design.

• UI application: deployment of hero images or phrases that allow users to intuitively recognize deficiencies

• Apply UX: Design the fastest path to troubleshooting

② Maximizing Value (∑): reward scheme design

• Visually highlights the benefits a user gains from completing a particular action.

• UI application: Provides visual feedback such as success message, badge assignment, mileage accruals, etc

• UX Application: Introduce gamification elements to drive continuous immersion  

③ Minimize resistance (1 - ∂)): usability improvement

• The total desire (M) increases by reducing the 'resistance', which corresponds to the denominator of the formula.

• UI Application: Simplifies complex forms and optimizes click range to eliminate physical resistance

• UX Application: Apply Progressive Disclosure Principles to Don't Give Too Much Information Early