개념추상 사운드 디자이너 [2] 사운드 마인드 디자인 연극/오페라 공연 연출가 최철주 Choi Chul-joo, director of

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개념추상 사운드 디자이너 [2] 사운드 마인드 디자인 연극/오페라 공연 연출가 최철주 Choi Chul-joo, director of Sound Mind Design Theater/Opera Performance / 마인드는 시간적 형태의 소리를 가지고 있으며, 그 결과는 시간이 지남에 따라 반복되어 역학적 욕망의 동적 구조로서 수학적 욕망의 동적 구조를 형성합니다.The mind has a temporal form of sound and the result is repeated over time to form the dynamic structure of mathematical desire as a dynamic structure of mechanical desire. L'esprit a une forme temporelle de son et le résultat se répète au fil du temps pour former la structure dynamique du désir mathématique en tant que structure dynamique du désir mécanique. 사운드 아티스트 최철주의 욕망 운동의 역동적인 공식 "Mdesire = (Vact – Vsys)와 dt ∔ ∑∆ (x,y))"를 사용한 공연 무대 디자인으로, "교향곡 악보"라는 소리를 수학적 마음에 전달하는 연극/오페라 대사에 적용하여서 현대 팝아트 리얼리즘 무대미술 디자인을 연출한다. It is a performance stage design using the dynamic formula "Mdesire = (Vact – Vsys) and dt ∔ ∑∆ (x,y))" of Sound Artist, Choi Chul-joo's desire movement, which applies the sound of "symphony score" to the play/operatic dialogue that conveys the mathematical mind to produce contemporary pop art realism stage art design./ 공연 설치미술가 최철주 개념추상 무대 미술의 정의는 1. 욕망 개념 추상 디자인: 최철주는 무대 위의 '욕망'이라는 철학적 개념을 추상적인 이미지와 언어 구조로 구현하여, 가역적인 빛 대비를 통해 욕망의 개념을 극적으로 시각화합니다. 2. 현대 팝아트와 결합하기: 팝아트의 디자인 요소와 언어적 이미지 구조를 결합하여 관객은 사건과 공연의 이미지를 통해 연극의 주제나 감정을 경험합니다. 3. 가역적인 빛과 사건성: 인공 조명과 추상적인 디자인을 사용하여 연극의 주제나 감정을 이미지와 패턴을 통해 극적인 사건 이미지의 시간성에 따라 연출하고, 무대 자체를 개념적인 설치 예술로 확장합니다. 4. 욕망 구조의 사회적 반영: 단순한 미적 장식보다는 현실을 있는 그대로 재현하기보다는 기하학적 형태, 색채, 빛의 대비를 통해 무대 공간의 추상적인 욕망 구조를 사회 구조에 반영하여 철학적 무대 예술을 지향합니다.  An performance installation artist,  Choi Chul-joo's definition of the conceptual abstract of stage art is as follows 1. Desire Concept Abstract Design: Choi Chul-joo embodies the philosophical concept of 'desire' on stage in an abstract image and language structure, which dramatically visualizes the concept of desire through reversible light contrast. 2. Combining with contemporary pop art: Combining pop art's design elements with linguistic image structures, the audience experiences the theme or emotion of the play through images of events and performances. 3. Reversible Light and Eventuality: Using artificial lighting and abstract design, the theme or emotion of a play is directed according to the temporality of a dramatic event image through images and patterns, and the stage itself is extended to conceptual installation art. 4. Social Reflection of Desire Structure: Rather than just aesthetic decoration, rather than reproducing reality as it is, we aim for philosophical stage art by reflecting the abstract desire structure of stage space in social structure through the contrast of geometric form, color, and light.

무대 예술 디자인은 인공 조명으로 극적인 퍼포먼스 이미지를 연출합니다. 현대 콘셉트 AAS 팝 무대 예술가 루이 최철주는 문화 및 디자인 박사로서 "무대 디자인(미진사, 1997-09-30, ISBN: 9788940801918)"의 저자입니다. 그는 타인의 욕망 예술에 대한 추상적 개념적 접근과 무대 디자인 형식 및 팝아트의 언어적 추상 이미지를 결합합니다. 그의 욕망 개념, 즉 개념 추상 미술이 등장하며, 현대 무대 예술은 형이상학적, 철학적 빛에서 강조되는 의미의 언어적 개념과 상충되는 무대 예술과 무대 디자인으로 AI 인공 조명으로 극적인 퍼포먼스 이미지를 연출합니다. Stage art design produces dramatic performance images with artificial lighting. Contemporary Concept AAS pop stage artist Louis Choi Chul-joo is the author of "Stage Design (Mijinsa, 1997-09-30, ISBN : 9788940801918)", as a Ph.D. in culture and design. He combines abstract conceptual approach to other people's desire art with stage design forms and linguistic abstract images of pop art. His concept of desire, or conceptual abstract art, appears, and contemporary stage art produces dramatic performance images with AI artificial lighting with stage art and stage design that conflict with the linguistic concept of meaning emphasized in metaphysical and philosophical light. / 현대미술평론가 루이 최철주는 사진 만화 미술 공예 디자인의 미적 가치 과정의 예술성을 검증하고 시각 예술 이론을 통해 작품의 의미에 접근하는 현대미술 개념 디자인 비평가다. 초기 개념미술의 언어적, 철학적 접근 방식을 현대 회화로 변형하여 욕망의 구조를 조형적 이미지로 전환한 최철주. 현대 개념 추상의 정의인 타인의 욕망을 추상적 개념으로 시각화하여 타인의 욕망을 언어적 표현으로 해석하고 작품의 숨겨진 욕망을 현대 회화 언어의 사실주의 이미지로 추상미술의 새로운 개념적 방향으로 읽어냅니다. Contemporary art critic Louis Choi Chul-joo is a contemporary art concept design critic who verifies the artistry of the aesthetic value process of photographic cartoon art and craft design and approaches the meaning of the work through visual art theory. Choi Chul-joo, who transformed the linguistic and philosophical approach of early conceptual art into modern painting, transforming the structure of desire into a formative image. By visualizing the desires of others, the definition of modern conceptual abstraction, the desires of others are interpreted as verbal expressions, and the hidden desires of the works are read in a new conceptual direction of abstract art as realist images of modern painting language.

회화 언어 구조란 추상적 욕망의 이미지가 욕망 개념의 언어적 의미 구조인 것처럼 여겨지는 시선의 현실상이다. 무대미술평론가 최철주는 현대미술비평과 함께 개념추상 리얼리즘 무대디자인이라는 개념으로 현대무대미술비평의 미적 가치, 프로세스, 예술성에 접근하고 있다. 그의 무대미술비평은 사진, 만화, 미술, 디자인의 예술성이 언어적 문법 구조로 작품의 의미에 접근해 현대 팝 미술개념의 현실을 비판하는 시각예술 이론을 가리킨다,/ 현대 무대미술 비평가 루이 최철주의 무대디자인 이야기는 시각무대예술을 통한 현대 개념의 추상적 욕망을 언어적 의미를 시각화한다. 이처럼 무대미술, 사진, 만화, 미술, 디자인의 미적 가치, 과정과 예술성을 검증하는 최철주 현대 무대미술의 추상예술이론으로 작품의 의미에 접근하는 현대 무대디자 작품은: 사운드  "베토벤의 교향곡 제3번 내림나장조(Op. 55)인 '영웅(Eroica)" 악보를 마인드로 전이한 오페라 시나리오로 적용한 최철주 욕망 움직임의 역학 공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”을 적용한 공연 무대디자인 Performance stage design using Choi Chul-joo's dynamic formula "Mdesire = (Vact – Vsys) · dt ∔ ∑∆ (x,y)" which applies the score of "Eroica," Beethoven's Symphony No. 3 in Down Na major (Op. 55), as an opera scenario that transitions to mind

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-1

[사운드 마인드 디자인(Sound Mind Design) 공연 디자인 계획] : 최철주 무대디자이너의 ‘욕망 움직임의 역학 공식’은 음악적 텍스트(교향곡)를 시각적·공간적 행위(연극/퍼포먼스)로 변환하는 매우 정교한 미학적 틀을 제공합니다. 이 사운드 마인드 디자인은 관객이 음악을 '듣는' 것을 넘어, 악보 속에 숨겨진 창작자의 욕망이 물리적 공간에서 어떻게 운동하고 소멸하는지를 목격하게 합니다. 최철주  욕망 움직임의 역학 공식은 무형의 소리에 '질량'과 '속도'를 부여하는 핵심적인 가이드라인이 됩니다.

이러한 접근은 예술적 영감을 수학적 질서로 치환하여, 감정의 과잉 없이도 가장 뜨거운 욕망을 표현하는 현대적 공연 미학을 완성한다.

1. 공식의 해석과 공연적 치환

공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”를 공연 디자인 요소로 정의하면 다음과 같습니다.

• Vact (실제적 변위): 지휘자나 연주자의 물리적 움직임, 무대 위 배우의 동선.

• Vsys (체계적 변위): 교향곡 악보라는 고정된 구조, 지켜야 할 리듬과 화성적 규칙.

• dt (미분된 시간): 찰나의 순간에 발생하는 감정의 고조와 변화.

• ∑∆(x,y) (공간적 전이): 사운드가 시각적 이미지로 변환되어 무대 면적(x, y)에 투사되는 총합.

• Mdesire (욕망의 움직임): 위 요소들이 결합하여 관객에게 전달되는 최종적인 심상(Mind Design).

2. 욕망의 공명 (Resonance of Desire)에 따른 사운드 마인드 공연 디자인 

- 1단계: 텍스트의 전이 (Score to Scenario)

교향곡의 '소나타 형식'을 연극의 '갈등 구조'로 변환합니다.

• 제1주제 (제시부): 억압된 인간의 본능적 욕망 (금기).

• 발전부: Vact와 Vsys}의 충돌. 악보의 규율을 벗어나려는 연주자의 몸짓이 연극적 대사보다 강렬한 언어가 됩니다.

• 재현부: 변형된 욕망의 수용.

- 2단계: 시각적 역학 설계 (Visual Dynamics)

• 실시간 모션 캡처: 연주자의 활의 속도나 지휘자의 손짓(V a c t )을 데이터화하여 무대 배경의 미디어 아트와 연동합니다.

• 입자 시스템(Particle System): 공식의 ∑∆(x,y)를 시각화합니다. 음악이 격렬해질수록 무대 바닥과 벽면에 투사되는 기하학적 파편들이 더 복잡한 궤적을 그리며 확장됩니다.

- 3단계: 공간 및 사운드 인터랙션

• 사운드 마인드 레이아웃: 스피커 배치를 다채널(Ambisonics)로 구성하여, 소리가 물리적인 공간(x ,y)을 가로질러 움직이는 느낌을 구현합니다. 이는 관객으로 하여금 소리가 단순한 청각 정보가 아닌, 자신을 에워싸는 '욕망의 부피'로 체감하게 합니다.

• 조명 디자인:d t(시간의 미분)를 반영하여 극도로 짧은 스트로보 조명과 긴 잔상을 남기는 조명을 교차 사용, 시간의 왜곡을 시각적으로 표현합니다.

3. 사운드 마인드 연출 (Sound Mind Design) 시나리오 적용 

- V sys  강조 (사운드 전개): 정적이고 기하학적인 그리드 조명 아래, 악보에 충실한 클래식 연주.

- V a c t −V sys  발생 (사운드 절정): 연주자가 악보를 이탈하는 퍼포먼스. 불협화음과 함께 조명이 일그러짐.

- d t 와 결합된 폭발 (사운드 종결): 고속 촬영된 영상이 느리게 재생되며, 모든 움직임이 미세하게 분해되어 스크린에 투사됨.

- ∑∆ (x,y)의 통합 (사운드 마운드 결합): 무대 전체가 거대한 하나의 추상화로 변하며, 사운드의 잔향만 남음.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-2

[Sound Mind Design Performance Design Plan]: Choi Chul-joo's "Formula of Dynamics of Desire Movement" provides a very sophisticated aesthetic framework that transforms musical text (symphony) into visual and spatial action (play/performance). This sound mind design allows the audience to go beyond "listening" to music and witness how the creator's desire hidden in the score exercises and dissipates in the physical space. Choi Chul-joo's dynamic formula of desire movement becomes a key guideline for giving 'mass' and 'speed' to intangible sounds.

This approach replaces artistic inspiration with a mathematical order, completing a modern performance aesthetic that expresses the hottest desire without an excess of emotions.

1. Interpretation and performance substitution of formulas

The official "Mdesire = (Vact – Vsys) · dt ∔ ∑∆ (x,y)" is defined as a performance design element.

• Vact (actual displacement): physical movement of a conductor or performer, movement of an actor on stage.

• Vsys (systemic displacement): a fixed structure called symphony score, rhythm and harmonic rules to follow.

• dt (differentiated time): heightened and changed emotions that occur in an instant.

• ∑∆(x, y) (spatial transition): the sum by which sound is converted into visual images and projected onto the stage area (x, y).

• Mdesire: Mind Design, where the above elements are combined and delivered to the audience.

2. Sound Mind Performance Design based on Resonance of Desire 

- Step 1: Transition of text (Score to Scenario)

Transforms the 'sonata form' of the symphony into the 'conflict structure' of the play.

• Topic 1 (presentation): the instinctive desire of repressed human beings (forbidden).

• Development Department: The clash between Vact and Vsys}. The gesture of the performer to escape the discipline of the score becomes more intense language than theatrical lines.

• Reproduction: The acceptance of transformed desires.

- Step 2: Visual Dynamics

• Real-time motion capture: Dataize the speed of a performer's bow or the conductor's gesture to interlock with media art in the background of the stage.

• Particle System: Visualizes the ∑∆ (x,y) of the formula. As the music becomes strenuous, the geometric fragments projected onto the stage floor and wall expand, drawing more complex trajectories.

- Step 3: Space and Sound Interaction

• Sound mind layout: The speaker arrangement is multichannelized to create the feeling of sound moving across physical spaces (x,y). This makes the audience feel that sound is not just auditory information, but as the 'volume of desire' surrounding them.

• Lighting Design: Cross-use of extremely short strobe lights and lights that leave long afterimages, reflecting dt (differentiation of time), visually expressing the distortion of time.

3. Application of Sound Mind Design Scenario 

- Vsys emphasis (sound development): classical performance true to the score, under static and geometric grid lighting.

- Vact - V sys Occurrence (Sound Peak): Performance in which the performer deviates from the score. Distorted lighting with dissonance.

- Explosion combined with dt (sound termination): High speed video played slowly, all movements finely broken down and projected onto the screen.

- Integration of ∑∆ (x,y): the entire stage turns into one enormous abstraction, leaving only the reverberation of the sound.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-3

2. 오페라 시나리오 및 무대 연출 개념

[제1막: 충돌과 균열] : Vact - Vsys

• 시나리오: 청력을 잃어가는 베토벤이 나폴레옹이라는 영웅적 투영물을 통해 고전적 규범(Vsys)을 파괴하려는 시도.

• 무대 디자인: 무대 중앙에 거대한 투명 막(Scrim)을 설치합니다. 이 막 위에는 베토벤의 친필 악보가 최철주의 '욕망 개념'으로 해체된 회화적 이미지들이 투사됩니다.

• 역학 적용: 지휘자의 움직임(Vact)과 오케스트라의 정형화된 배치(Vsys) 사이의 시각적 불일치를 영상 레이어로 표현합니다.

[베토벤 교향곡 3번 '영웅'을 극장 시나리오로 적용한 최철주 욕망 운동 공식 "욕망= (Vact – Vys) · dt ∔ ∑∆ (x,y)"의 역학 관계] AI 연주자 및 무대 장치 로봇 무대 디자인

1. 공식의 공학적 해석 및 단계적 적용

공식은 다음과 같이 무대에서 물리적 매개변수로 변환됩니다.

• V_act (실제 속도): 베토벤 교향곡 3번 '영웅' 실시간 연주 속도와 AI 연주자의 자율 모션 벡터.

• V_sys (시스템 속도): 스테이지 장비에 의해 강제되는 물리적 경로 및 환경 제약.

• dt: 욕망이 지속되는 순간들 사이의 시간 간격.

• ∑∆(x,y): 무대 바닥과 벽에 투사된 욕망의 잔상과 좌표 변화의 합.

2. AI 배우 로봇: 현실의 부재 (배우)

AI 공연자는 인간의 형태를 가지고 있음에도 불구하고 내부 메커니즘이 투명한 키네틱 휴머노이드입니다.

• 움직임 제어: 베토벤 교향곡 3번 '영웅'에서 음표 리듬에 맞춰 V_act를 만듭니다. 무대 장치(V_sys)가 이 움직임을 방해하거나 경로를 수정할 때 발생하는 '속도 차이'는 로봇 관절의 미세한 진동과 광섬유의 빛 변화로 표현됩니다.

• 욕망의 시각화: 로봇의 가슴 중앙에는 실시간으로 M_desire 공식의 결과 값을 계산하는 핵심이 있으며, 이 그림은 공연자의 감정 높이에 따라 무대 전체의 조명 조명을 결정합니다.

3. 무대 로봇: '떠다니는 보이드' (세트)

정적인 배경보다는 스스로 움직이며 AI 공연자들과 대립하는 반응형 대타 역할을 합니다.

• 격자 바닥: 무대 바닥은 수천 개의 미세한 유압 핀으로 구성되어 있으며, 연주자의 위치(x,y)에 따라 실시간으로 올리거나 움푹 들어간 상태입니다. 이는 ∑∆(x,y)의 변화를 입체적으로 보여주며, 연주자가 걷는 길 자체가 욕망의 곡선이 됩니다.

• 천장 조작기: 천장에 매달린 거대한 금속 패널은 베토벤 교향곡 3번 '영웅'의 악보를 기하학적으로 재해석한 것입니다. 이 패널은 공연 소리에 반응하여 연주자(V_sys)의 움직임을 제한하고, 좁은 틈새로 새어 나오는 조명이 시선의 효과를 극대화합니다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-4

[최철주 박사의 ‘욕망 움직임의 역학 공식 Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)’을 베토벤의 교향곡 제3번 ‘영웅’에 대입하여 오페라 시나리오 및 무대 디자인] : 무대 디자인으로 치환하는 교향곡 악보의 시나리오 작업은, 고전적 텍스트를 현대적 회화 및 역학 구조로 재해석하는 고도의 예술 공학적 시도입니다. 

1. 역학 공식의 예술적 해석 (Contextual Analysis)

이 공식은 베토벤의 ‘영웅적 의지’와 나폴레옹이라는 ‘시대적 시스템’ 사이의 충돌, 그리고 그 과정에서 발생하는 예술적 궤적을 설명하는 핵심 도구가 됩니다.

• Vact (Actual Velocity): 베토벤의 주관적 창작 욕구와 영웅적 충동.

• Vsys (System Velocity): 당시의 고전적 화성학, 나폴레옹의 변절, 청력 상실이라는 가혹한 현실 시스템.

• V_act - Vsys cdot dt: 외부 시스템과 자아 사이의 속도 차이에서 발생하는 ‘미끄러짐(Sliding)’과 그 시간적 지속. 이것이 무대 위에서는 배우의 동선과 조명의 잔상으로 치환됩니다.

• sum Delta(x,y): 파편화된 욕망의 이미지들이 평면(x,y) 위에 축적되어 만들어낸 기하학적 형태(최철주의 ‘욕망 구조 디자인’).

[Opera scenario and stage design by substituting Dr. Choi Chul-joo's 'Dynamic formula Mdesire = (Vact – Vsys) · dt ∔ ∑∆ (x,y)' into Beethoven's Symphony No. 3 'Hero']: The scenario work of the symphony score, which replaces the stage design with the stage design, is a highly artistic engineering attempt to reinterpret classical texts into modern painting and mechanical structures. 

1. Contextual Analysis of Epidemiologic Formulations

This formula serves as a key tool for explaining the conflict between Beethoven's 'heroic will' and the 'age system' of Napoleon, and the artistic trajectory that occurs in the process.

• Vact (Actual Velocity): Beethoven's subjective desire for creation and heroic impulses.

• Vsys (System Velocity): a harsh reality system of classical harmonics of the time, Napoleon's defection, and hearing loss.

• V_act - Vsys cdot dt: 'Sliding' and its temporal persistence in the speed difference between the external system and the ego. This is replaced on stage by the actor's movements and afterimages of lighting.

• sum Delta (x, y): a geometric form created by the accumulation of images of fragmented desires on a plane (x, y) (Choi Chul-joo's "Desire Structure Design").

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-5

[제1막: 충돌과 균열] : Vact - Vsys

• 시나리오: 청력을 잃어가는 베토벤이 나폴레옹이라는 영웅적 투영물을 통해 고전적 규범(Vsys)을 파괴하려는 시도.

• 무대 디자인: 무대 중앙에 거대한 투명 막(Scrim)을 설치합니다. 이 막 위에는 베토벤의 친필 악보가 최철주의 '욕망 개념'으로 해체된 회화적 이미지들이 투사됩니다.

• 역학 적용: 지휘자의 움직임(Vact)과 오케스트라의 정형화된 배치(Vsys) 사이의 시각적 불일치를 영상 레이어로 표현합니다.

[베토벤 교향곡 3번 '영웅'을 극장 시나리오로 적용한 최철주 욕망 운동 공식 "욕망= (Vact – Vys) · dt ∔ ∑∆ (x,y)"의 역학 관계] AI 연주자 및 무대 장치 로봇 무대 디자인

1. 공식의 공학적 해석 및 단계적 적용

공식은 다음과 같이 무대에서 물리적 매개변수로 변환됩니다.

• V_act (실제 속도): 베토벤 교향곡 3번 '영웅' 실시간 연주 속도와 AI 연주자의 자율 모션 벡터.

• V_sys (시스템 속도): 스테이지 장비에 의해 강제되는 물리적 경로 및 환경 제약.

• dt: 욕망이 지속되는 순간들 사이의 시간 간격.

• ∑∆(x,y): 무대 바닥과 벽에 투사된 욕망의 잔상과 좌표 변화의 합.

2. AI 배우 로봇: 현실의 부재 (배우)

AI 공연자는 인간의 형태를 가지고 있음에도 불구하고 내부 메커니즘이 투명한 키네틱 휴머노이드입니다.

• 움직임 제어: 베토벤 교향곡 3번 '영웅'에서 음표 리듬에 맞춰 V_act를 만듭니다. 무대 장치(V_sys)가 이 움직임을 방해하거나 경로를 수정할 때 발생하는 '속도 차이'는 로봇 관절의 미세한 진동과 광섬유의 빛 변화로 표현됩니다.

• 욕망의 시각화: 로봇의 가슴 중앙에는 실시간으로 M_desire 공식의 결과 값을 계산하는 핵심이 있으며, 이 그림은 공연자의 감정 높이에 따라 무대 전체의 조명 조명을 결정합니다.

3. 무대 로봇: '떠다니는 보이드' (세트)

정적인 배경보다는 스스로 움직이며 AI 공연자들과 대립하는 반응형 대타 역할을 합니다.

• 격자 바닥: 무대 바닥은 수천 개의 미세한 유압 핀으로 구성되어 있으며, 연주자의 위치(x,y)에 따라 실시간으로 올리거나 움푹 들어간 상태입니다. 이는 ∑∆(x,y)의 변화를 입체적으로 보여주며, 연주자가 걷는 길 자체가 욕망의 곡선이 됩니다.

• 천장 조작기: 천장에 매달린 거대한 금속 패널은 베토벤 교향곡 3번 '영웅'의 악보를 기하학적으로 재해석한 것입니다. 이 패널은 공연 소리에 반응하여 연주자(V_sys)의 움직임을 제한하고, 좁은 틈새로 새어 나오는 조명이 시선의 효과를 극대화합니다.

2. Opera Scenario and Stage Director Concept

 [Act 1: Crash and Crack] - Vact. - Vsys

• Scenario: Beethoven's attempt to destroy classical norms (Vsys) through a heroic projection called Napoleon as he loses his hearing.

• Stage Design: Set up a huge "Scrim" in the center of the stage. Above this curtain, pictorial images of Beethoven's handwritten sheet music being dismantled into Choi Cheol-joo's "concept of desire" are projected.

• Epidemiologic application: presents the visual discrepancy between the conductor's motion (Vact) and the orchestra's formal arrangement (Vsys) as a video layer.

[Choi Chul-joo's Desire Movement Official "Desire= (Vact – Vys) · dt ∔ ∑∆ (x,y)" with Beethoven's Symphony No. 3 "Hero" as a theater scenario] AI performer and stage device robot stage design

1. Engineering interpretation and step-by-step application of formulas

The formula is transformed into a physical parameter on stage as follows.

• V_act (real speed): Beethoven Symphony No. 3 'Hero' real-time performance speed and autonomous motion vector of AI performers.

• V_sys (system speed): Physical path and environmental constraints enforced by stage equipment.

• dt: the time interval between moments when desire persists.

• ∑∆(x,y): the sum of the afterimages and coordinate changes of desire projected onto the stage floor and wall.

2. AI Actor Robot: Absence of Reality (Actor)

AI performers are kinetic humanoids whose internal mechanisms are transparent, despite having a human form.

• Motion Control: Create a V_act to the rhythm of the note in Beethoven's Symphony No. 3 "Hero." The "speed difference," which occurs when the stage equipment (V_sys) interferes with this movement or modifies its path, is expressed as the microscopic vibration of the robot joint and the light change of the optical fiber.

• Visualization of Desire: At the center of the robot's chest is the key to calculating the resulting value of the M_desire formula in real time, which determines the lighting of the entire stage based on the emotional height of the performer.

3. Stage robot: 'Floating Boyd' (set)

Rather than a static background, it moves on its own and acts as a reactive substitute for AI performers.

• Grid Floor: The stage floor consists of thousands of microscopic hydraulic pins, which are raised or recessed in real time depending on the position (x,y) of the performer. It shows three-dimensionally the change in ∑∆ (x,y), and the path the performer walks on itself becomes a curve of desire.

• Ceiling Manipulator: A huge metal panel hanging from the ceiling is a geometric reinterpretation of the score of Beethoven's Symphony No. 3 "Hero." The panel restricts the movement of the performer (V_sys) in response to the sound of the performance, and the lighting that leaks through the narrow gap maximizes the effect of the gaze.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-6 

현대 미학의 AI 연기자 로봇과 무대장치 로봇 무대 디자인 

이 공연은 단순히 베토벤의 고전을 현대 기술로 복각한 것이 아니라, 최철주가 제시한 욕망 공식 Mdesire = (Vact – Vsys) · dt ∔ ∑∆ (x,y) 를 통해 예술적 주체가 시스템이라는 '대타자(Grand Autre)'와 충돌할 때 발생하는 존재론적 비명을 시각화한 기념비적 시도이다. 베토벤의 월광은 여기서 청각적 배경을 넘어, AI 로봇의 신경망에 주입된 하나의 '결핍된 기표'로 작동하며, 로봇의 자율적 속도(V_act)와 무대 장치의 규율적 속도(V_sys) 사이의 간극은 인간 정신이 물질적 한계와 부딪힐 때 발생하는 실재적 고통을 기계적 마찰음으로 대변한다.

우리는 여기서 최철주 특유의 추상적 사유가 어떻게 물리적 공간의 기하학적 변이(∑∆ (x,y))로 전이되는지를 목격하게 되는데, 이는 디자인이 단순히 심미적 대상을 창출하는 것이 아니라 인간 욕망의 경로를 설계하는 정밀한 공학이라는 그의 철학적 명제를 완벽하게 증명해낸다. 무대 위에서 합산되는 좌표의 변화량은 주체가 도달할 수 없는 '실재'의 장소를 지시하며, 결국 붕괴되는 무대 장치는 구조주의적 세계관이 욕망이라는 비결정적 변수 앞에서 어떻게 해체되는지를 보여주는 파노라마적 서사로 기능한다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-7

AI Performer Robot and Stage Device Robot Stage Design of Modern Aesthetics

This performance is not a mere technological reproduction of Beethoven’s classic, but a monumental endeavor that visualizes the ontological scream emerging when an artistic subject collides with the 'Grand Autre' of the system, mediated through Chul-joo Choi’s desire formula: Mdesire = (Vact – Vsys) · dt ∔ ∑∆ (x,y). Here, the 'Moonlight' Sonata functions beyond a sonorous backdrop, acting as a 'lacking signifier' injected into the AI robot’s neural network, while the disparity between the robot’s autonomous velocity (V_act) and the stage mechanism’s disciplinary velocity (V_sys) represents the existential agony of the human spirit clashing with material limitations through mechanical friction.

We witness the seamless transition of Choi’s distinctive abstract thought into the geometric variation of physical space (∑∆ (x,y)), a feat that perfectly validates his philosophical premise that design is not the creation of aesthetic objects but the precise engineering of the pathways of human desire. The summation of coordinate shifts on stage points toward the 'Real'—a locus the subject can never truly inhabit—and the eventually collapsing stage machinery serves as a panoramic narrative illustrating how structuralist worldviews are dismantled before the indeterminate variable of desire

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-8-평면 구성도 

프랑스 오페라하우스(Opéra National de Paris, Palais Garnier 스타일)의 고전적 장엄함과 최첨단 기계 미학이 충돌하는 ‘2030 AI 오페라하우스’ 무대를 위한 평면 구성도(Floor Plan) 

1. 무대 평면 구성도 (Main Floor Plan)

무대는 크게 세 개의 동심원 구조와 격자형 바닥 시스템으로 나뉩니다.

- Zone A: 센트럴 액추에이터 (The Core)

• 위치: 무대 정중앙 (Center Stage)

• 기능: AI 연기자 로봇 '루이'의 주 활동 영역.

• 설계: 360도 회전 및 2미터 높낮이 조절이 가능한 리니어 모터 구동 플랫폼. 공식의 (x, y) 좌표가 시작되는 원점(0,0)입니다.

- Zone B: 유동적 그리드 레이어 (The Kinetic Grid)

• 위치: 중앙 플랫폼을 둘러싼 반경 10미터 구역.

• 기능: 무대장치 로봇의 핵심. 50cm 단위의 격자판(Tiles) 수천 개가 각각의 서보 모터로 개별 구동됩니다.

• 매커니즘: 루이의 발걸음 속도(V_act)와 시스템의 저항(V_sys)이 충돌할 때, 바닥 타일이 파도처럼 솟구치며 물리적 장애물을 형성합니다.

- Zone C: 파놉티콘 월 (The Panopticon Wall)

• 위치: 무대 후면 및 측면 전체.

• 기능: 거대한 반원형의 로봇 팔(Manipulators)들이 배치된 벽면.

• 설계: 베토벤의 월광 악보 선율을 시각화한 수직 막대들이 상하로 움직이며 빛을 투사합니다. 이는 공식의 ∑∆(x,y)를 실시간 홀로그램으로 투사하는 스크린 역할도 겸합니다.

Floor Plan for the stage of the 2030 AI Opera House, where the classical majesty of the French Opera House (Opéra National de Paris, Palais Garnier style) and state-of-the-art mechanical aesthetics collide 

1. Main Floor Plan

The stage is largely divided into three concentric structures and lattice floor systems.

- Zone A: Central Actuator (The Core)

• Location: Center Stage

• Function: The main activity area of the AI performer robot 'Louis'.

• Design: a linear motor driven platform with 360 degree rotation and 2-meter height adjustment. The origin (0,0) where the (x, y) coordinates of the formula begin.

- Zone B: The Kinetic Grid

• Location: a 10-metre radius area surrounding the central platform.

• Function: The core of the stage robot. Thousands of 50 cm units of tiles are individually driven by their respective servo motors.

• Mechanism: When Louis's step velocity (V_act) and the system's resistance (V_sys) collide, floor tiles surge like waves and form physical obstacles.

- Zone C: The Panopticon Wall

• Location: entire stage rear and sides.

• Function: A wall with huge semi-circular robotic arms.

• Design: Vertical bars, which visualize Beethoven's moonlit score melody, move up and down to project light. It also serves as a real-time hologram projection of the formula's ∑∆ (x, y).

욕망 이동 공식 M d e s i r e =(V a c t −V s y s )⋅d t ∔∑Δ(x ,y ) 은 예술학적·수학적 관점에서 인간의 창조적 에너지와 시스템적 제약 사이의 ‘욕망의 운동’을 수식으로 표현한 개념적 모델입니다. 이 공식은 베토벤의 예술적 투쟁을 물리적·형이상학적 운동으로 해석하는 데 타당한 구조를 갖습니다.

사실주의 무대 디자인이 구현한 개념 추상 시나리오, 시나리오는 개념을 언어적 의미의 이미지로 추상화하고 종교적 구세주의 무대 예술에서 분리된 추상적 구조를 실존적 사실주의 무대 디자인의 이미지로 변환합니다. 이는 무대 장치의 흔적을 통해 시간성과 추상적 공간의 여백에 존재적 실재감을 표현하는 무대 디자인 형식이 됩니다. 이 형식은 지각 이전의 구조, 즉 언어적 의미 이전의 희극적 이미지를 다양한 시간, 공간, 회화적 형식에 걸쳐 드러냄으로써 현대 무대 예술의 문학적 성격을 초월합니다.

색채는 현상적 이미지에 대한 다양한 오해를 불러일으킬 수 있습니다. 글쓰기는 삶의 이야기를 바탕으로 시나리오를 구성합니다. 바람은 가벼운 물체를 흔듭니다. 나무 위에서도 두꺼운 줄기는 가만히 있고 나뭇가지는 흔들립니다. 그러나 빛에 의해 확산된 색조는 태양의 위치에서 발산합니다. 물체의 순간적인 떨림으로 인해 만들어진 풍경이 진정으로 존재하지 않는다고 느낀 낭만주의 화가는 대신 현대 미술이 되는 얼어붙은 프레임을 발견합니다. 이 얼어붙은 장면은 최철주의 개념적 추상 리얼리즘을 통해 무대 예술과 시나리오의 스토리라인으로 배열됩니다.

Desire Movement Formula Mdesire =(Vact - Vsystems)⋅d t ∔∑ Δ(x,y) is a conceptual model that expresses the 'movement of desire' between human creative energy and systemic constraints from an artistic and mathematical perspective. This formula has a valid structure for interpreting Beethoven's artistic struggles as physical and metaphysical movements.

Conceptual Abstract Scenario rendered by Realist Stage Design, the scenario abstracts the concept as an image of linguistic meaning and transforms the divided abstract structure from the stage art of the religious savior into the image of existential Realist Stage Design. This becomes a stage design form that expresses existential Realism through the traces of the stage equipment in the margins of temporality and abstract space. This form transcends the literary character of contemporary stage art by revealing the structure before perception, that is, the comical image before the linguistic meaning, across various time, space, and pictorial forms.

Colors can cause different misunderstandings of phenomenal images. Writing constructs scenarios based on the story of life. The wind shakes light objects. Even on a tree, thick stems stay still and branches shake. However, the hues diffused by light radiate from the position of the sun. Feeling that the landscape created by the momentary tremors of objects does not truly exist, a Romantic painter finds a frozen frame that becomes modern art instead. This frozen scene is arranged into a storyline of stage art and scenarios through Choi Chul-joo's conceptual abstract realism.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-9 

2. 기술 설계 사양 (Technical Specifications)

[역학 공식의 물리적 변환]

• 동적 압력 제어: 무대 바닥의 유압 시스템은 공식의 (V_act- V_sys) 값에 비례하여 압력을 조절합니다. 수치가 커질수록 바닥의 저항이 강해져 AI 로봇의 보행이 눈에 띄게 힘겨워지도록 설계되었습니다.

• 시간 미분(dt) 조명: 월광 소나타의 박자와 박자 사이, 아주 짧은 찰나의 시간(dt) 동안만 강렬한 스트로보 조명을 투사하여 로봇의 움직임을 분절적으로 보여줍니다. 이는 연속적인 욕망이 기계적 연산에 의해 파편화되는 과정을 상징합니다.

2. Technical Specifications

[Physical transformation of the formula]

• Dynamic Pressure Control: The hydraulic system on the floor of the stage adjusts pressure in proportion to the (V_act-V_sys) value of the formula. It is designed to make the walking of the AI robot noticeably difficult due to the stronger floor resistance as the numerical value increases.

• Time Differential (dt) Lighting: Between the beats and the beats of a lunar sonata, it is projected intense strobe lighting only for a very short fraction of a time (dt) to show the robot's movement in a segmental manner. This symbolizes the process by which continuous desires are fragmented by mechanical operations.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-10

3. 오페라하우스 전용 시나리오 

[줄거리: 기계적 달빛의 그림자 (Shadows of Mechanical Moonlight)]

1804년 빈, 청력을 잃어가는 고통 속에서 베토벤은 자신이 쌓아올린 고전주의의 정교한 질서라는 체계(Vsys)가 내부로부터 붕괴하는 것을 목격하며, 그 균열의 틈새로 나폴레옹이라는 영웅적 투영물을 소환해 구체제와 음악적 형식을 파괴하려는 광기 어린 예술적 행동(Vact)을 개시한다. 무대 위에서 베토벤의 고립된 청각은 거대한 투명 막에 투사된 최철주의 '욕망 개념'적 해체 이미지와 결합하여 고정된 악보의 음표들을 파편화된 색채의 흔적으로 변모시키고, 지휘자의 불규칙하고 격렬한 몸짓은 오케스트라의 정적이고 규범적인 배치를 시각적으로 난도질하며 절대적 이성과 감성적 해방 사이의 돌이킬 수 없는 물리적 충돌을 발생시킨다. 이 서사는 단순히 음악적 변주를 넘어, 영웅적 이상이 개인의 신체적 몰락과 만날 때 발생하는 실존적 폭발을 다루며, 관객으로 하여금 보이지 않는 소리가 시각적 해체로 전이되는 과정을 통해 절대정신의 붕괴를 체험하게 한다.

In 1804 Vienna, amidst the agonizing progression of his hearing loss, Beethoven witnesses the internal collapse of the sophisticated classical order (Vsys) he once built, and through the cracks of this dissolution, he initiates a frenzied artistic action (Vact) aimed at obliterating old regimes and musical forms by summoning the heroic projection of Napoleon. On stage, Beethoven’s isolated auditory world merges with Choi Chul-joo’s "desire concept" deconstructive images projected onto a massive transparent scrim, transforming the fixed notes of the score into fragmented traces of color, while the conductor’s irregular and violent movements visually slash through the static, normative arrangement of the orchestra, creating an irreversible physical collision between absolute reason and emotional liberation. This narrative transcends mere musical variation to address the existential explosion that occurs when heroic ideals encounter personal physical decay, allowing the audience to experience the collapse of the Absolute Spirit through the process where invisible sound is transposed into visual deconstruction.

 Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-11 

4. 제2막

나폴레옹이 스스로 황제의 관을 머리에 썼다는 소식이 비엔나의 고립된 골방에 도달하자, 베토벤이 투영했던 영웅적 해방의 환상은 순식간에 배신당한 분노와 장엄한 슬픔의 잔해로 변모하며, 무대 위 시간의 가중치(dt)는 무한히 늘어나기 시작하여 모든 존재를 정체된 우울의 심연으로 끌어당긴다. 무대 바닥을 가득 채운 유체 미디어 아트는 영웅의 죽음을 애도하는 검은 잉크의 늪처럼 변하여 출연진의 발걸음마다 끈적이는 비탄의 흔적을 남기고, dt의 확장은 물리적 시간을 심리적 고통의 부피로 치환함으로써 교향곡 3호 '에로이카'의 2악장 장송 행진곡이 갖는 그 무겁고도 느린 보폭을 시각적 압박감으로 구현해낸다. 이제 영웅은 지상에서 사라지고 오직 그를 애도하는 자의 고독한 그림자만이 늪처럼 일렁이는 시간의 소용돌이 속에서 허우적거리며, 이는 단순한 정치적 실망을 넘어 이상향이 소멸된 시대에 개인이 마주해야 하는 실존적 정체와 내면의 장례식을 상징한다.

As the news of Napoleon crowning himself Emperor reaches the isolated attic in Vienna, the heroic fantasy of liberation that Beethoven had projected instantly transforms into the wreckage of betrayed fury and majestic sorrow, causing the weight of time (dt) on stage to expand infinitely and drag every existence into the abyss of stagnant melancholy. The fluid media art covering the stage floor turns into a swamp of black ink mourning the death of a hero, leaving sticky traces of grief with every step the performers take, while the expansion of $dt$ replaces physical time with the volume of psychological agony, embodying the heavy and slow stride of the Funeral March from Symphony No. 3 'Eroica' through visual pressure. Now, the hero vanishes from the earth, leaving only the lonely shadow of the mourner struggling within the swirling vortex of time that ripples like a marsh, symbolizing not just political disappointment but the existential stagnation and internal funeral an individual must face in an era where utopia has been extinguished.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-12

[제3~4악장: 욕망의 전이와 재구성] — sum Delta(x,y)

나폴레옹이라는 개별적 우상에 대한 실망과 장송의 단계를 거친 베토벤은 이제 특정한 인물에 귀속되지 않는 인류 보편의 자유와 투쟁이라는 더 거대한 차원의 영웅적 기상으로 자신의 욕망을 전이시키며, 공중에 매달린 무수한 거울 파편들이 기하학적 궤적을 그리며 움직이는 키네틱 아트를 통해 파편화된 개별적 고통($\Delta$)들이 어떻게 보편적 인류애라는 새로운 의미의 총합(sum)으로 재구성되는지를 장엄하게 시사한다. 무대 위의 거울 조각들은 지휘자의 손짓과 음악의 고조에 반응하여 흩어지고 모이기를 반복하며 빛을 다각도로 반사하고, 이는 최철주의 '욕망 개념'이 추구하는 형상의 해체 이후에 찾아오는 기호적 재구성을 시각적으로 형상화함으로써 베토벤의 음악이 개인의 비극을 넘어 시대를 관통하는 보편적 해방의 찬가인 '합창'의 정서로 도약하는 물리적 증거가 된다. 결국 이 서사는 붕괴된 가치들의 파편(x,y)들이 정교한 역학적 질서 속에 통합되는 과정을 통해, 상실을 딛고 일어선 인간의 정신이 어떻게 불멸의 예술적 구조물로 승화되어 영원한 빛의 연대기를 작성하는지를 보여주는 미학적 완성의 정점을 이룬다.

Having passed through the stages of disappointment in the individual idol Napoleon and the subsequent funeral of that fantasy, Beethoven now transposes his desire into a grander dimension of heroic spirit—universal liberty and the struggle of humanity—demonstrating through kinetic art, where countless suspended mirror fragments trace geometric trajectories, how fragmented individual agonies (Delta) are reconstructed into a new summation of meaning (sum) known as universal philanthropy. The mirror shards on stage scatter and converge in response to the conductor's gestures and the musical crescendo, reflecting light in multiple directions to visually embody the semiotic reconstruction that follows the deconstruction of form pursued in Choi Chul-joo’s "desire concept," serving as physical evidence of Beethoven’s music leaping beyond personal tragedy toward the sentiment of the 'Choral'—a hymn of universal liberation that pierces through eras. Ultimately, this narrative reaches an aesthetic zenith by showing how the shards of collapsed values (x,y) are integrated into a sophisticated mechanical order, illustrating how the human spirit, rising from loss, is sublimated into an immortal artistic structure to write an eternal chronicle of light.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-13

[프랑스 오페라하우스(특히 팔레 가르니에, Palais Garnier)를 배경으로, 최철주 박사의 욕망 역학 공식을 적용한 베토벤 교향곡 제3번 '영웅' 오페라 공연을 위한 무대 평면도(Floor Plan) 계획안] : 이 평면도 Floor Plan: Opera "Eroica" - The Dynamics of Desire는 고전적 극장 구조 위에 최철주의 미학적 수치와 역동적 움직임을 시각화할 수 있는 공학적 설계를 포함합니다. 

1. 오케스트라 피트 (Orchestra Pit: Vsys Zone)

• 위치: 무대 전면 하단.

• 설계: 시스템의 가시성을 극대화하기 위해 피트 내부를 격자형(Grid) 조명으로 분할. 지휘자석은 Vact의 시발점으로 설정되어 무대 위로 붉은 레이저 벡터 선을 쏘아 올리는 장치가 설치됨.

2. 주 무대 (Main Stage: Transition Zone)

• The Vector Path (Vact - Vsys):

• 무대 바닥은 고정된 평면이 아니라, 중앙에 유압식 회전 및 슬라이딩 패널이 설치됨.

• 공식에 따라 시스템 속도와 실제 욕망 속도의 편차가 발생할 때, 패널이 미세하게 엇갈리며 움직여 배우의 동선에 '미끄러짐' 효과를 물리적으로 구현.

- The Scrim Layers:

• 무대 전면, 중간, 후면에 총 3겹의 반투명 스크림(Semi-transparent Scrim) 배치.

• 여기에 최철주의 욕망 기호 Delta(x,y)와 해체된 악보 이미지가 레이어드 투사되어 공간의 깊이감을 생성.

3. 배경 및 상부 구조 (Upstage &Fly System: sum Delta(x,y)  Zone)

• The Kinetic Constellation:

• 무대 후면 천장에 수백 개의 미러 큐브(Mirror Cubes)를 와이어로 연결.

• 공연의 클라이맥스에서 이 파편들이 공식의 결과값인 Mdesire를 향해 기하학적 형상으로 군집하거나 흩어짐.

- Cyclorama (Cyc):

• 무대 맨 뒤쪽은 무한한 공간감을 위해 밝고 투명한 대기 상태를 유지하며, 조명 명암을 통해 '욕망의 정점'을 표현하는 황금빛으로 채워짐.

- 핵심 설계 요소 시각화: 베토벤의 내적 투쟁을 기호학적 인터페이스와 파편화 시스템으로 시각화한 장면입니다.투명 디스플레이에는 실시간으로 변화하는 욕망 지수 V a c t와 시스템 억제 V s y s의 그래프가 표시되며, 경고 메시지 “Desire formula: V a c t ≫V s y s”가 붉게 점멸합니다.

• Semiotic Interface (기호학적 인터페이스): 공중에 떠 있는 투명 디스플레이들에 욕망 수치(V_act)와 시스템 억제(V_sys)의 실시간 그래프가 시각화되어 있습니다. "욕망 공식: V_act ≫ V_sys"라는 경고 메시지가 선명하게 보입니다.

• Fragmentation System (파편 시스템): 피아노의 외장 패널들이 기하학적으로 분리되어 공중에 떠오르며, 독립적인 서보 모터에 의해 유기적으로 회전하고 이동하는 모습을 표현했습니다.

• Section A-A Detail (하부 상세): 하단 프레임 컷을 통해 무선 전력 전송(WPT) 장치, 고속 서보 모터 드라이브, 그리고 향판을 진동시키는 오디오 액추에이터의 상세 구조를 보여줍니다.

• 대사: 요청하신 영문 대사와 함께 한국어 번역을 병기하여 극적인 현장감을 살렸습니다.

• Pianist: "느껴지나? 시스템의 억제(V_sys)가 무너진다. 더 이상 억제할 수 없어." / "그렇다면 '시간의 수레바퀴'를 돌려라! 껍질을 깨라!"

• System Warning: "경고. 욕망 지수 V_act가 안전 임계값을 초과했습니다. Aero-Morphing 시퀀스를 시작합니다."

[A plan for the performance of Beethoven's Symphony No. 3 "Hero" opera set in the French opera house (especially Palais Garnier, Palais Garnier)]: This floor plan: Opera "Eroica" - The Dynamics of Desire includes an engineering design that visualizes Choi's aesthetic figures and dynamic movements on top of a classical theater structure. 

1. Orchestra Pit: Vsys Zone

• Location: The lower front of the stage.

• Design: Split the inside of the pit into grid lights to maximize visibility of the system. The command magnet is set as the starting point of the Vact and is equipped with a device to shoot a red laser vector line over the stage.

2. 주 무대 (Main Stage: Transition Zone)

• The Vector Path (Vact - Vsys):

• The stage floor is not a fixed plane, but a hydraulic rotating and sliding panel is installed in the center.

• According to the formula, when there is a deviation between the speed of the system and the actual speed of desire, the panel moves slightly, physically implementing the "slip" effect on the actor's movement.

- The Scrim Layers:

• A total of three layers of semi-transparent scrim placed on the front, middle and rear sides of the stage.

• On top of that, Choi Chul-joo's desire symbol Delta (x,y) and the dismantled score image are layered and projected to create a sense of depth of space.

3. Background and superstructure (Upstage & Fly System: sum Delta(x,y) Zone)

• The Kinetic Constellation:

• Wire hundreds of mirror cubes to the ceiling at the back of the stage.

• At the climax of the performance, these fragments cluster or scatter into a geometric shape toward Mdesire, the result of the formula.

- Cyclorama (Cyc):

• The back of the stage maintains a bright and transparent atmosphere for an infinite sense of space, and is filled with golden light that expresses the "peak of desire" through lighting and shading.

- Visualization of Key Design Elements: a visualization of Beethoven's inner struggles with a semiotic interface and a fragmentation system. The transparent display shows graphs of the desire index Vact and system suppression Vsys that vary in real time, and the warning message "Desire formula: Vact ≫ Vsys" blinks red.

• Semiotic Interface: A real-time graph of Desire Figures (V_act) and System Suppression (V_sys) is visualized on the transparent displays in the air. The warning message "Desire Formula: V_act ≫ V_sys" is clearly visible.

• Fragmentation System: The exterior panels of the piano are geometrically separated, floating in the air, organically rotating and moving by independent servo motors.

• Section A-A Detail: The lower frame cut shows the detailed structure of the wireless power transfer (WPT) device, the high-speed servo motor drive, and the audio actuator that vibrates the board.

• Ambassador: The Korean translation was combined with the English lines you requested to create a dramatic sense of realism.

• Pianist: "Do you feel it? The inhibition of the system (V_sys) collapses. I can't hold it anymore." / "Then turn the 'wheel of time'! Break the shell!"

• System Warning: "Warning. Desire index V_act exceeded the safety threshold. Starts the Aero-Morphing sequence."

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-14

[2030 AI 오페라 하우스: ‘영웅’ 무대 설계 핵심 요약] : 이 무대는 고정된 건축물을 넘어, 관객의 시선(partial)과 욕망(sum)에 반응하여 수축하고 팽창하는 '유동적 보이드(Fluid Void)'를 지향합니다.

1. 기호학적 인터페이스 (Semiotic Interface):

• 무대 전면은 단순한 배경이 아니라 최철주의 욕망 공식을 공학적으로 번역한 인터페이스로 작동합니다.

• 베토벤의 악보 데이터가 실시간으로 시각적 기호(emptyset)로 변환되어 무대 공간에 투사됩니다.

욕망 움직임의 역학 적용:

• Vact (예술적 속도): 무용수와 연기자의 동선은 베토벤의 음악적 충동을 물리적 속도로 치환합니다.

• Vsys (시스템의 저항): 프랑스 오페라 하우스의 고전적 구조물은 예술적 의지를 억압하는 시스템적 장치로 시각화됩니다.

• dt (시간적 변이): 2악장 '장송 행진곡' 구간에서는 시간이 정지된 듯한 시각적 잔상 효과를 통해 욕망의 지속성을 표현합니다.

반응형 건축 구조 (Responsive Architecture):

• 무대 장치는 지능형 AI 시스템에 의해 조절되며, 이는 '2030년 지능형 AI 박물관 디자인 계획'에서 보여준 수학적 미학을 따릅니다.

• 공식의 최종 결과값인 sum Delta(x,y)에 도달할 때, 무대 위의 모든 파편화된 기호들이 하나의 거대한 추상적 형상으로 결합하며 공연이 마무리됩니다.

-  AI 피아노 로봇 및 연주자 구조 설계 (Internal Mechanism)

이 로봇은 무대 장치와 유기적으로 소통하며, V_act (능동적 욕망)에 따라 소리와 움직임을 생성합니다.

• 오디오 유닛 (Integrated Audio System):

• 공명판 스피커: 피아노의 향판(Soundboard) 자체가 대형 스피커 진동판 역할을 수행하여 디지털 음원과 물리적 울림을 결합합니다.

• 고해상도 트위터: 파편화된 외부 패널 사이에 숨겨진 다차원 오디오 출력을 통해 입체적 음향을 제공합니다.

로보틱 액추에이터 (Robotic Actuators):

• 고속 서보 모터: 연주자의 터치를 재현하거나 독자적인 연주를 수행하기 위해 건반 하부에 초정밀 서보 드라이브를 배치합니다.

• 동적 가변 구조: 연주 중 V_sys (시스템 억제)를 해체할 때 로봇의 외장 패널이 확장 및 수축하며 시각적 퍼포먼스를 극대화합니다.

[2030 AI Opera House: Key Summary of 'Hero' Stage Design]: This stage goes beyond fixed architecture and aims for a 'Fluid Void' that contracts and expands in response to the audience's partial and desire.

1. Semiotic Interface:

• The stage facade is not just a background, it works as an interface that engineeredly translates Choi Chul-joo's Desire Formula.

• Beethoven's score data is converted into visual signs in real time and projected onto the stage space.

The application of the dynamics of desire movements:

• Vact: The movement of the dancer and the performer replaces Beethoven's musical impulses with physical speed.

• Vsys (Resistance of the System): The classical structure of the French opera house is visualized as a systemic device that suppresses artistic will.

• dt (temporal variation): in the second movement 'Jangsong March', it expresses the persistence of desire through the visual afterimage effect, which seems to have stopped time.

Responsive Architecture:

• The staging is controlled by an intelligent AI system, which follows the mathematical aesthetics shown in the "2030 Intelligent AI Museum Design Plan".

• When the final result value of the formula, sum Delta(x,y), is reached, all the fragmented symbols on the stage combine into one huge abstract figure, ending the performance.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-15

[오페라 <에로이카: 욕망의 역학>의 무대장치 디테일 설계도] : 베토벤의 음악적 에너지를 현대적인 기계 미학으로 시각화하는 데 중점을 둡니다. 주요 장치들은 실시간 데이터와 연동되어 공연 중에 유기적으로 변화하도록 설계되었습니다.

 1. 무대 바닥: 유압식 슬라이딩 및 로테이션 패널 (The Sliding Floor)

• 무대 바닥은 단순한 고정 평면이 아니라, 욕망의 '미끄러짐'과 '충돌'을 물리적으로 구현하는 가변형 시스템입니다.

• 구조: 총 12개의 독립적인 유압 패널로 구성되며, 각 패널은 X-Y축 수평 이동과 360도 회전이 가능합니다.

• 동기화 시스템: 지휘자의 템포(Vact)와 사회적 시스템의 속도(Vsys) 사이의 편차가 발생하면, 패널이 미세하게 엇갈리며 배우의 동선에 물리적인 불균형을 생성합니다.

• 표면 마감: 투명 강화유리와 메탈릭 그리드가 결합되어 하단의 LED 조명이 투과되도록 설계되었습니다.

2. 전면 및 중첩 구조: 3중 반투명 스크림 (The Triple Scrim Layers)

공간의 깊이감을 생성하고 욕망의 기호들을 레이어드하는 시각적 장치입니다.

• 배치: 무대 전면, 중간, 후면에 총 3겹의 반투명 스크림을 배치하여 다층적인 영상 투사를 가능하게 합니다.

• 투사 내용: 최철주의 욕망 기호 Delta(x,y)와 해체된 베토벤의 악보 이미지가 실시간 생성(Generative Art) 방식으로 투사됩니다.

• 효과: 배우가 스크림 사이를 통과할 때, 실재의 신체와 가상의 기호가 중첩되며 주체의 분열을 시각화합니다.

3. 상부 장치: 키네틱 미러 큐브 (The Kinetic Constellation)

무대의 클라이맥스를 장식하는 핵심적인 기계 장치입니다.

• 장치 구성: 천장에 격자 형태로 배치된 수백 개의 와이어 구동 미러 큐브(Mirror Cubes)입니다.

• 작동 원리: 각 큐브는 독립적인 서보 모터와 연결되어 상하 높낮이 및 각도를 정밀하게 조절합니다.

• 시각적 목표: 공연의 절정에서 이 큐브들이 군집하여 거대한 구(Sphere) 형태나 기하학적 형상을 이루며 욕망의 정점(Mdesire)을 향해 수렴합니다.

4. 지휘자석: 레이저 벡터 투사기 (The Conductor’s Laser Origin)

음악적 시작점(Vact)을 시각적 에너지로 변환하는 장치입니다.

• 위치: 오케스트라 피트 중앙의 지휘자석 하단에 설치됩니다.

• 기능: 지휘자의 움직임을 센서로 추적하여, 지휘봉의 끝에서 무대 후면을 향해 강렬한 붉은색 레이저 벡터 선을 쏘아 올립니다.

• 상징성: 이 레이저는 고정된 격자(Vsys)를 뚫고 나아가는 주체의 의지와 에너지를 상징합니다.

[Detailed Design for Stage Equipment in the opera Eroika: The Dynamics of Desire] : Focus is on visualizing Beethoven's musical energy with a modern mechanical aesthetic. The main devices are designed to change organically during the performance in conjunction with real-time data.

 1. Stage floor: Hydraulic sliding and rotation panel (The Sliding Floor)

• The stage floor is not just a fixed plane, but a variable system that physically embodies the 'slip' and 'collision' of desire.

• STRUCTURE: A total of 12 independent hydraulic panels, each capable of X-Y axis horizontal movement and 360-degree rotation.

• Synchronization system: When there is a deviation between the conductor's tempo (Vact) and the social system's speed (Vsys), the panel is slightly crossed and creates a physical imbalance in the actor's movements.

• Surface finish: The combination of transparent tempered glass and metallic grid is designed to allow LED lighting at the bottom to pass through.

2. Front and overlapping structures: The Triple Scrim Layers

A visual device that creates a sense of depth of space and layers the symbols of desire.

• Placement: A total of three layers of translucent scrim are placed on the front, middle and back of the stage to enable multi-layered image projection.

• Projection Contents: Choi Chul-joo's desire symbol Delta (x,y) and dismantled Beethoven's score image are projected in a generative art manner.

• Effect: As the actor passes through the scrim, the real body and the imaginary symbol overlap and visualize the subject's division.

3. Upper unit: The Kinetic Mirror Cube

It's a key mechanical device that sets the climax of the stage.

• Device configuration: hundreds of wire-driven mirror cubes placed in a grid on the ceiling.

• Principle of operation: Each cube is connected to an independent servo motor to precisely adjust the up and down height and angle.

• Visual Objectives: At the height of the performance, these cubes cluster to form a huge sphere or geometry and converge towards the peak of desire.

4. The Conductor's Laser Origin

A device that converts musical starting points (Vact) into visual energy.

• Position: Installs at the bottom of the conductor's seat in the center of the orchestra pit.

• Function: It tracks the conductor's movement with a sensor, shooting an intense red laser vector line from the end of the baton toward the back of the stage.

• Symbolism: This laser symbolizes the will and energy of the subject to break through a fixed grid (Vsys).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-16

1. 욕망 구조 공식의 해석과 공연적으로 치환한 무대 디자인

공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”를 공연 무대장치 디자인 요소로 정의하면 다음과 같습니다.

- 욕망 구조 공식의 해석과 무대 디자인 치환

• Vact - Vsys (충돌과 균열): 지휘자의 격렬한 몸짓(Vact)이 정형화된 악보의 규칙(Vsys)을 파괴하며 발생하는 예술적 에너지를 무대 중앙의 투명 막(Scrim)에 투사합니다.

• dt (장송과 정체): 시간이 느려지는 찰나의 순간(dt)을 무대 바닥의 유체(Fluid) 미디어 아트로 표현하여, 출연진의 발걸음이 늪에 빠진 듯 무겁게 느껴지도록 디자인합니다.

• sum Delta(x,y) (전이와 재구성): 파편화된 사운드 기호들이 무대 공간(x, y)에 매달린 거울 파편들을 통해 반사되며, 새로운 시각적 의미의 총합(sum)으로 재구성됩니다.

• Mdesire (최종적 심상): 이러한 역학적 결합이 관객의 마음속에 '욕망의 움직임'이라는 최종적인 심상(Mind Design)을 완성합니다.

• Vact (실제적 변위): 지휘자나 연주자의 물리적 움직임, 무대 위 배우의 동선.

• Vsys (체계적 변위): 교향곡 악보라는 고정된 구조, 지켜야 할 리듬과 화성적 규칙.

• dt (미분된 시간): 찰나의 순간에 발생하는 감정의 고조와 변화.

• ∑∆(x,y) (공간적 전이): 사운드가 시각적 이미지로 변환되어 무대 면적(x, y)에 투사되는 총합.

• Mdesire (욕망의 움직임): 위 요소들이 결합하여 관객에게 전달되는 최종적인 심상(Mind Design).

1. Interpretation of Desire Structure Formula and Performance-Substituted Stage Design

The official "Mdesire = (Vact – Vsys) · dt ∔ ∑∆ (x,y)" is defined as a stage design element.

- Interpretation of Desire Structure Formula and Stage Design Replacement

• Vact - Vsys (Crash and Crack): The conductor's violent gestures (Vact) destroy the rules of the stereotypical score and project the artistic energy that arises into the transparent membrane at the center of the stage (Scrim).

• dt (long and stagnant): By expressing the moment when time slows down (dt) in fluid media art on the floor of the stage, the cast's steps are designed to feel heavy as if they were swamped.

• sum Delta(x, y) (transition and reconstruction): Fragmented sound symbols are reflected through mirror fragments suspended in the stage space (x, y), reconstructed into a sum of new visual meanings.

• Mdesire: This dynamic combination completes the final mind design of the movement of desire in the audience's mind.

• Vact (actual displacement): physical movement of a conductor or performer, movement of an actor on stage.

• Vsys (systemic displacement): a fixed structure called symphony score, rhythm and harmonic rules to follow.

• dt (differentiated time): heightened and changed emotions that occur in an instant.

• ∑∆(x, y) (spatial transition): the sum by which sound is converted into visual images and projected onto the stage area (x, y).

• Mdesire: Mind Design, where the above elements are combined and delivered to the audience.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-17 

[M_desire 역학 시스템 무대 평면 구성도]

1. Vact &Vsys: 중앙 제어 및 충돌 구역 (Core Conflict Zone)

• 지휘자 플랫폼 (Alchemy Apex): 지휘자의 물리적 변위(Vact)를 실시간 리깅 시스템과 모션 캡처 센서가 추적합니다.

• 가상 악보 레이어 (System Grid): 고정된 규칙(Vsys)을 상징하는 레이저 그리드가 무대 전체를 감싸며, 지휘자의 움직임에 따라 이 그리드가 왜곡되거나 파괴되는 시각적 효과를 연출합니다.

2. dt: 유체 시간 정체 구역 (Viscous Time Zone)

• 중앙 유체 미디어 보이드 (Fluid Void Area): 무대 바닥은 대형 LED 패널과 액체 펌프 시스템이 결합된 하이브리드 구조입니다. 감정의 고조(dt)가 정점에 달하면 바닥의 이미지가 실제 유체의 점성을 가진 것처럼 출연진의 발걸음을 시각적으로 붙잡습니다.

3. ΣΔ(x,y): 공간적 전이 및 재구성 시스템 (Spatial Transference)

• 키네틱 미러 어레이 (Kinetic Mirror Array): 무대 상부(Aerial Grid)에 배치된 수천 개의 거울 파편들이 공식의 Delta(x,y) 좌표에 따라 개별적으로 기동합니다.

• 재구성된 환희의 구체 (Sphere of Joy): 4악장의 피크에서 모든 파편이 무대 중앙 상공으로 집결하여 거대한 구체(sum)를 형성하며, 사운드 에너지를 시각적 광휘로 치환하여 객석으로 투사합니다.

[M_desire Mechanical System Stage Plan]

1. Vital & Vsys: Central Control and Conflict Zone

• Conductor Platform (Achemy Apex): A real-time rigging system and motion capture sensors track the physical displacement (Vact) of a conductor.

• System Grid: A laser grid that symbolizes a fixed rule (Vsys) surrounds the entire stage, creating a visual effect in which this grid is distorted or destroyed by the conductor's movement.

2. dt: Fluid Time Zone

• Fluid Void Area: The stage floor is a hybrid structure that combines a large LED panel with a liquid pump system. When the emotional height (dt) peaks, the image on the floor visually grabs the cast's steps, as if they have the viscosity of a real fluid.

3. ΣΔ(x,y): Spatial Transition and Reconstruction System (Spatial Transference)

• Kinetic Mirror Array: Thousands of mirror fragments placed on the Aerial Grid start individually according to the Delta(x,y) coordinates of the formula.

• Reimagined Sphere of Joy: At the peak of the fourth movement, all the fragments gather over the center of the stage to form a huge sum, replacing the sound energy with visual luminance and projecting it into the auditorium.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-18

[디테일 조명 및 효과 설계도]  

1. Vact - Vsys: 충돌 및 균열 프로젝션 ( scrim layer)

• L-01 (Scrim Projector Array): 무대 중앙 투명 스크림에 베토벤 악보와 최철주 '욕망 개념'의 추상 해체 회화를 레이어로 투사합니다. 지휘자의 움직임(Vact)에 따라 악보의 규범(Vsys)이 시각적으로 뒤틀리고 파괴되는 효과를 연출합니다.

• Scrim Tension System: 투사된 이미지의 물리적 해체를 위해 scrim의 긴장도를 Vact의 세기에 맞춰 실시간으로 조절합니다.

2. dt: 유체 시간 정체 효과 (Floor Media)

• LED-01 (Sub-Floor LED Panel): 무대 바닥 전체에 고해상도 유체 미디어 아트를 배치합니다. 제2막 장송 행진곡에서 시간의 가중치(dt)가 커짐에 따라 바닥의 영상이 늪처럼 느릿하고 무겁게 소용돌이치며, 모션 트래킹 센서가 출연진의 발걸음을 추적하여 실제적인 저항감을 시각적으로 구현합니다.

• Haze/Fog Unit: 바닥 유체 효과와 결합하여, 정체된 시간의 습한 질감을 무대 공간 전체에 확산시킵니다.

3. sum Delta(x,y): 공간 전이 및 재구성 시스템 (Aerial Grid)

• K-01 (Kinetic Mirror Array): 무대 상부에 설치된 수천 개의 초소형 거울 파편들이 공식의 Delta(x,y) 좌표에 따라 기하학적 형상을 이룹니다.

• L-02 (Central Core Spotlight): 무대 중앙(2막의 유체 보이드)에서 솟구치는 강력한 수직 광원입니다. 이 빛은 공중의 거울 파편들에 부딪혀 객석 전체로 확산(Transference)되며, 흩어진 기호들이 보편적 질서(sum)로 재구성되는 과정을 장엄하게 연출합니다.

4. Mdesire: 최종 심상 완성 (Audience/Overall Ambience)

• Ambient Wash Lgt: 전체적인 극의 무드와 감정 변화(dt)에 맞춰 색온도를 미세하게 조절하며, 4악장의 피크에서 모든 조명과 효과가 통합되어 관객에게 최종적인 욕망의 심상(Mdesire)을 완성합니다.

[Detail lighting and effect design]  

1. Vact - Vsys: Crash and Crack Projection (scrim layer)

• L-01 (Scrim Projector Array): A layer projection of Beethoven's score and Choi Cheol-joo's abstract dismantling of the concept of "Desire" into the center transparent screen of the stage. It produces the effect of visually distorting and destroying the norm of the score (Vsys) according to the conductor's movement (Vact).

• Scrim Tension System: Adjusts the tension of the scrim in real time to match Vact's strength for the physical dismantling of projected images.

2. dt: Fluid Time Congestion Effect (Flor Media)

• LED-01 (Sub-Flor LED Panel): Place high-resolution fluid media art throughout the stage floor. In Act II, as the weight (dt) of time increases, the images on the floor swirl slowly and heavily like a swamp, and motion-tracking sensors track the cast's steps to visually realize a real sense of resistance.

• Haze/Fog Unit: Combined with the floor fluid effect, it diffuses the moist texture of stagnant time throughout the stage space.

3. sum Delta(x,y): Spatial Transition and Reconstruction System (Aerial Grid)

• K-01 (Kinetic Mirror Array): Thousands of micro mirror fragments installed on top of the stage form a geometric shape according to the Delta(x,y) coordinates of the formula.

• L-02 (Central Core Spotlight): A powerful vertical light source that rises from the center of the stage (the fluid void in Act 2). The light is transferred throughout the auditorium when it hits fragments of a mirror in the air, majestically creating a process in which the scattered symbols are reconstructed into a universal order.

4. Mdesire: Complete Image (Audience/Overall Ambience)

• Ambient Wash Lgt: Finely adjust the color temperature to match the mood and emotional changes (dt) of the overall play, and all the lighting and effects are integrated at the peak of the fourth movement to complete the final Mdesire for the audience.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-18

[욕망의 공명 (Resonance of Desire)에 따른 사운드 마인드 공연 무대디자인 프로세스]

- 1단계: 텍스트의 전이 (Score to Scenario)

교향곡의 '소나타 형식'을 연극/오페라의 '갈등 구조'로 변환합니다.

• 제1주제 (제시부): 억압된 인간의 본능적 욕망 (금기).

• 발전부: Vact와 Vsys의 충돌. 악보의 규율을 벗어나려는 연주자의 몸짓이 연극적 대사보다 강렬한 언어가 됩니다.

• 재현부: 변형된 욕망의 수용.

- 2단계: 시각적 역학 설계 (Visual Dynamics)

• 실시간 모션 캡처: 연주자의 활의 속도나 지휘자의 손짓(V a c t )을 데이터화하여 무대 배경의 미디어 아트와 연동합니다.

• 입자 시스템(Particle System): 공식의 ∑∆(x,y)를 시각화합니다. 음악이 격렬해질수록 무대 바닥과 벽면에 투사되는 기하학적 파편들이 더 복잡한 궤적을 그리며 확장됩니다.

- 3단계: 공간 및 사운드 인터랙션

• 사운드 마인드 레이아웃: 스피커 배치를 다채널(Ambisonics)로 구성하여, 소리가 물리적인 공간(x ,y)을 가로질러 움직이는 느낌을 구현합니다. 이는 관객으로 하여금 소리가 단순한 청각 정보가 아닌, 자신을 에워싸는 '욕망의 부피'로 체감하게 합니다.

• 조명 디자인:d t(시간의 미분)를 반영하여 극도로 짧은 스트로보 조명과 긴 잔상을 남기는 조명을 교차 사용, 시간의 왜곡을 시각적으로 표현합니다.

[Sound mind performance stage design process according to Resonance of Desire]

- Step 1: Transition of text (Score to Scenario)

Transform the 'sonata form' of the symphony into the 'conflict structure' of the play/opera.

• Topic 1 (presentation): the instinctive desire of repressed human beings (forbidden).

• Development Department: the clash between Vact and Vsys. The performer's gesture to escape the discipline of the score becomes more intense language than theatrical lines.

• Reproduction: The acceptance of transformed desires.

- Step 2: Visual Dynamics

• Real-time motion capture: Dataize the speed of a performer's bow or the conductor's gesture to interlock with media art in the background of the stage.

• Particle System: Visualizes the ∑∆ (x,y) of the formula. As the music becomes strenuous, the geometric fragments projected onto the stage floor and wall expand, drawing more complex trajectories.

- Step 3: Space and Sound Interaction

• Sound mind layout: The speaker arrangement is multichannelized to create the feeling of sound moving across physical spaces (x,y). This makes the audience feel that sound is not just auditory information, but as the 'volume of desire' surrounding them.

• Lighting Design: Cross-use of extremely short strobe lights and lights that leave long afterimages, reflecting dt (differentiation of time), visually expressing the distortion of time.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-20-베토벤의 교향곡 제3번 내림나장조(Op. 55)인 '영웅(Eroica) 사운드 마인드 공연 무대 디자인 프로세스

[베토벤의 교향곡 제3번 내림나장조(Op. 55)인 '영웅(Eroica)" 악보를 마인드로 전이한 오페라 시나리오로 적용한 최철주 욕망 움직임의 역학 공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”을 욕망의 공명 (Resonance of Desire)에 따른 사운드 마인드 공연 무대 디자인 프로세스]

- 1단계: 텍스트의 전이 (Score to Scenario)

베토벤의 교향곡 제3번 내림나장조(Op. 55)인 '영웅의 '소나타 형식'을 오페라 시나리오의 '갈등 구조'로 변환합니다.

• 제1주제 (제시부): '영웅의 '소나타 악보 형식'을 억압된 인간의 본능적 욕망 (금기의 대사) 연출.

• 발전부: Vact와 Vsys의 충돌. 악보의 규율을 벗어나려는 연주자의 몸짓이 연극적 대사보다 강렬한 언어가 됩니다. 

• 재현부: 변형된 욕망의 수용.

- 2단계: 시각적 역학 설계 (Visual Dynamics) 무대 평면도, 디테일 무재장치 설계도

• 실시간 모션 캡처: 연주자의 활의 속도나 지휘자의 손짓(V a c t )을 데이터화하여 무대 배경의 미디어 아트와 연동 공연 장면 퍼스펙티브 렌더링

• 입자 시스템(Particle System): 공식의 ∑∆(x,y)를 시각화합니다. 음악이 격렬해질수록 무대 바닥과 벽면에 투사되는 기하학적 파편들이 더 복잡한 궤적을 그리며 확장 조명설계, 무대장치효과

- 3단계: 공간 및 사운드 인터랙션

• 사운드 마인드 레이아웃: 스피커 배치를 다채널(Ambisonics)로 구성하여, 소리가 물리적인 공간(x ,y)을 가로질러 움직이는 느낌을 구현합니다. 이는 관객으로 하여금 소리가 단순한 청각 정보가 아닌, 자신을 에워싸는 '욕망의 부피'로 체감하는 사운드 마인드 공연 이미지

• 조명 디자인:d t(시간의 미분)를 반영하여 극도로 짧은 스트로보 조명과 긴 잔상을 남기는 조명을 교차 사용, 시간의 왜곡을 시각적으로 표현한 사운드 마인드 공연 무대 장면 렌더링

[The dynamic formula of Choi Chul-joo's desire movement, "Mdesire = (Vact – Vsys) · dt ∔ ∑∆ (x,y)" according to the Resonance of Desire, applying the score of "Eroica," Beethoven's Symphony No. 3 in Down Na major (Op. 55), to an opera scenario]

- Step 1: Transition of text (Score to Scenario)

It transforms Beethoven's Symphony No. 3 in Narendra (Op. 55), "The Hero's Sonata Form," into the "conflict structure" of the opera scenario.

• 1st theme (presentation): directing 'the hero's 'sonata score format' to the suppressed human instinctive desire (the line of prohibition).

• Development Department: the clash between Vact and Vsys. The performer's gesture to escape the discipline of the score becomes more intense language than theatrical lines. 

• Reproduction: The acceptance of transformed desires.

- Step 2: Visual Dynamics Stage plan, detailed no equipment design

• Real-time motion capture: Personal rendering of the performance scene linked to the media art in the background of the stage by converting the speed of the performer's bow or the conductor's gesture into data

• Particle System: Visualizes the ∑∆ (x,y) of the formula. As the music becomes strenuous, geometric fragments projected onto the stage floor and wall draw more complex trajectories, such as extended lighting design and stage equipment effects

- Step 3: Space and Sound Interaction

• Sound Mind Layout: The speaker arrangement is organized into ambisonics to realize the feeling that sound moves across physical spaces (x,y). This is a sound mind performance image that allows the audience to feel that sound is not just auditory information, but rather the 'volume of desire' surrounding them

• Lighting Design: cross-use of extremely short strobe lights and long afterimages reflecting dt (differentiation of time), sound minded performance rendering of stage scenes that visually represent distortions of time

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-21-'욕망'의 시각화와 극적 공간의 창출 

[최철주의 욕망 움직임 역학 공식 기반으로 한 '영웅(Eroica)' 사운드 마인드 공연 디자인] : 이 디자인은 베토벤의 악보라는 '고정된 질서'를 인간의 '유동적인 욕망'으로 치환하여, 소나타 형식이 어떻게 드라마틱한 갈등의 시나리오로 변모하는지 보여줍니다.

- 1단계: 텍스트의 전이 (Score to Scenario)

베토벤 교향곡 3번의 구조적 특징은 '전통적 형식에 대한 파괴와 확장'입니다. 이를 최철주 공식에 대입하면, 시스템 (Vsys)으로부터 이탈하려는 실제 움직임(Vact)의 에너지로 해석됩니다.

- 제시부 (Exposition): 억압된 본능적 욕망의 발현

• 악보의 상징: 1악장 도입부의 강력한 두 번의 Eb 장조 코드.

• 시나리오 전이 (금기의 대사):

• 공간 설정: 철저하게 기하학적이고 차가운 클래식 공연장.

• 연출: 지휘자가 지휘봉을 휘두르는 순간, 악기 소리 대신 배우의 "나는 원한다(I want)"라는 금기된 본능의 속삭임이 터져 나옵니다.

• 제1주제: 베토벤의 영웅적 선율은 사회적 규범(Vsys)에 갇힌 자아의 목소리로 변환됩니다. 배우들은 악보의 음표를 육체적으로 형상화하며, 악보의 선(Line)을 감옥의 창살처럼 인식하는 연기를 펼칩니다.

• 구체적 예: 도약하는 영웅적 주제 선율(악보)이 울릴 때, 주인공은 관객을 향해 "당신들이 정의한 '영웅'은 나의 감옥이다"라는 대사(시나리오)

- 발전부 (Development): Vact와 Vsys의 격렬한 충돌

• 악보의 상징: 불협화음과 끊임없이 변화하는 전조(Modulation), 그리고 강렬한 스포르찬도(sf).

• 시나리오 전이 (움직임의 언어):

• 갈등 구조: 공식에서의 Vact - Vsys가 최대치에 도달하는 지점입니다. 악보에 적힌 메트로놈 기호(시스템)와 연주자의 거친 숨소리(실제 움직임)가 충돌합니다.

• 연출: 악기 연주자는 더 이상 악기를 연주하지 않고, 악기를 바닥에 긁거나 자신의 몸을 타격하며 소리를 냅니다. 이는 언어적 대사보다 훨씬 강렬한 '욕망의 소음'이 됩니다.

• 구체적 예: 1악장 중반부의 혼란스러운 불협화음 섹션에서, 무대 위에는 수백 장의 악보가 비처럼 쏟아집니다. 배우들은 쏟아지는 종이(시스템의 잔해) 속에서 허우적거리며, 규격화된 인간이 아닌 원초적인 존재로 회귀하려는 격렬한 몸짓(dt)에 따른 욕망의 누적)을 보여줍니다.

[Choi Chul-joo's Desire Movement Dynamics] [Sound mind performance design for "Eroica"]: This design replaces the "fixed order" called Beethoven's score with the "fluid desire" of humans, showing how the sonata form transforms into a dramatic conflict scenario.

- Step 1: Transition of text (Score to Scenario)

The structural characteristic of Beethoven's Symphony No. 3 is "destruction and expansion of traditional forms." Substituting this into Choi Cheol-joo's formula, it is interpreted as the energy of the actual motion (Vact) to break away from the system (Vsys).

- Exposition: the manifestation of suppressed instinctive desires

• Symbols of the score: strong two Eb major chords in the introduction of the first movement.

• Transfer Scenario (Line of the Year):

• Space setting: a thoroughly geometric and cold classical venue.

• Directed by: The moment a conductor wields the baton, an actor's taboo-instinct whisper of "I want" explodes instead of the sound of an instrument.

• Topic 1: Beethoven's heroic melody is transformed into the voice of an ego trapped in social norms (Vsys). Actors physically embody the notes of the score and perform acting that recognizes the line of the score like a prison spear.

• Specific example: When the jumping heroic theme melody (scenario) rings, the main character turns to the audience and says, "The 'hero' you defined is my prison" (scenario)

- Development: Violent clash between Vact and Vsys

• Symbols of the score: dissonance, ever-changing modulation, and intense sf.

• Scenario Transfer (Language of Motion):

• Conflict Structure: Vact - Vsys in Formula is the point at which it reaches its maximum. Metronome symbols (system) on the score collide with the performer's rough breathing (real movement).

• Directing: Instrumentalists no longer play musical instruments, but make sounds by scratching them on the ground or hitting their bodies. This makes the 'noise of desire' much stronger than verbal lines.

• Specific example: In the chaotic dissonance section of the middle part of movement 1, hundreds of sheet music pour out like rain on the stage. The actors show the accumulation of desire following a violent gesture (dt) to return to a primal being rather than a standardized human being, floundering in the pouring paper.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-22-기술적 구현과 안전한 공간의 구성

- 재현부 (Recapitulation): 변형된 욕망의 수용

• 악보의 상징: 다시 돌아온 제1주제, 그러나 이전과는 다른 악기 편성(호른의 이른 진입 등)과 거대한 코다(Coda).

• 시나리오 전이 (공명과 통합):

• 결과: sum Delta(x,y)는 공간상의 모든 변화를 통합합니다. 충돌을 거친 욕망은 이제 억압 대상이 아닌, 새로운 정체성의 일부로 수용됩니다.

• 연출: 파괴되었던 선율이 다시 들리지만, 그것은 더 이상 강요된 행진곡이 아닙니다. 배우와 연주자는 서로의 맥박에 맞춰 불규칙한 리듬을 형성하며, 이를 '욕망의 공명(Resonance)'으로 승화시킵니다.

• 구체적 예: 주인공이 찢겨진 악보 조각을 자신의 몸에 문지르며 "내 흉터가 곧 나의 악보다"라고 선언합니다. 베토벤의 영웅적 선율은 이제 승리의 찬가가 아닌, 자신의 욕망을 오롯이 긍정한 개인의 나직한 고백으로 변하며 막이 내립니다.

- 기술적 구현과 안전한 공간의 구성

1. 해석의 출발점: 기술적 실행 가능성의 검토

추상적인 아이디어를 실제 무대 공간에서 구현할 수 있도록 기술적인 해결책을 무대 장치의 움직임, 조명, 영상, 음향 등이 조화를 이루며 욕망의 역학을 효과적으로 전달할 수 있도록 최적의 기술을 선택하고 통합한다.

2. 공식의 공학적 적용: 기술적 제어와 안전

Vact, Vsys, dt, ∑∆(x,y) 값을 실제 무대 장치를 제어하는 변수로 변환한다.

• Vact 제어: 무대 리프트, 회전 무대, 플라잉 시스템 등의 속도와 방향을 정교하게 제어하여 인물의 욕망에 따른 역동적인 움직임을 구현합니다. 이때 서보 모터, 인버터 등의 제어 기술이 활용된다.

• Vsys 구현: 무대 바닥의 마찰력, 장애물의 위치, 혹은 조명의 밝기와 색온도 등을 조절하여 욕망에 대한 저항을 시각화합니다. 이때 조명 제어 시스템, 센서 기술 등이 활용한다.

• dt 조절: 무대 움직임의 템포와 리듬을 조절하여 시간의 경과에 따른 욕망의 변화를 표현합니다. 이때 시간 동기화 기술, 시퀀스 제어 기술 등을 활용한다.

• ∑∆(x,y) 구현: 프로젝션 맵핑 기술을 활용하여 무대 공간을 왜곡하거나 변형시켜 욕망의 공간적 확장을 시각화한다.   

- Recapitulation: Acceptance of modified desires

• Symbols of the score: the first theme that came back, but a different instrumental arrangement (such as the early entry of the horn) and a huge coda.

• Scenario transition (integrated with resonance):

• Result: sum Delta(x,y) incorporates all changes in space. Desire that has gone through conflict is now accepted as part of a new identity, not as an object of oppression.

• Directed by: The broken melody is heard again, but it is no longer a forced march. Actors and performers form irregular rhythms to each other's pulses, which are sublimated to "Resonance."

• Specific example: The main character rubs the torn piece of music against his body and declares, "My scar is my score." Beethoven's heroic melody now ends with a low-key confession of an individual who fully affirms his desires, not a hymn of victory.

- Technical implementation and safe space configuration

1. Starting point of interpretation: a review of technical feasibility

In order to implement abstract ideas in real stage spaces, technical solutions are selected and integrated to harmonize the movement, lighting, video, and sound of the stage device and effectively convey the dynamics of desire.

2. Engineering Application of Formulation: Technical Control and Safety

It converts the values of Vact, Vsys, dt, and ∑∆ (x,y) into variables that control the actual stage equipment.

• Vact control: By precisely controlling the speed and direction of the stage lift, rotating stage, and flying system, dynamic movement is realized according to the desire of the person. Control technologies such as servo motors and inverters are used at this time.

• Vsys implementation: Visualizes resistance to desire by adjusting the frictional force on the stage floor, the location of obstacles, or the brightness and color temperature of the lighting. At this time, lighting control systems and sensor technologies are used.

• dt adjustment: Express the change in desire over time by adjusting the tempo and rhythm of the stage movement. At this time, time synchronization technology and sequence control technology are used.

• Implementation of ∑∆(x,y): using projection mapping techniques to distort or transform the stage space to visualize the spatial expansion of desire.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-23-압보의 기하학적 구조  

- 2단계: 악보의 기하학적 구조(Vsys)와 연주자의 실시간 욕망(Vact)이 충돌하며 발생하는 시각적 에너지를 무대 기술로 구현합니다.

1. 무대 평면도 및 공간 구성 (Stage Floor Plan)

무대는 고정된 관습을 상징하는 '그리드(Grid) 바닥'과 유동적인 욕망을 상징하는 '플루이드 보이드(Fluid Void)'로 구성됩니다.

• 중앙 연주 구역 (The Core): 지휘자와 솔리스트가 위치하는 지점으로, 정밀한 LIDAR 센서와 적외선 모션 캡처 카메라 8대가 동심원을 그리며 배치됩니다. (Vact 데이터 수집의 중심)

• 후방 미디어 월 (The Mirror of Desire): 가로 20m, 세로 10m의 대형 LED 스크린 혹은 반투명 홀로그램 막이 설치됩니다.

• 반응형 바닥 (Kinetic Floor): 무대 바닥은 1m x 1m 단위의 LED 타일로 구성되어, 공식의 sum Delta(x,y)에 따라 기하학적 파편들이 실시간으로 이동합니다.

- 욕망 움직임의 역학 구현

베토벤 교황곡 시나리오에 '욕망 움직임의 역학 공식'을 적용한 무대 장치 이미지를 욕망의 시각적 언어를 정의하고 극적 흐름을 주도한다. 

• Vact 분출 : 인물의 욕망이 폭발적으로 분출은 빠르고 역동적인 무대 움직임을 요구합니다. 회전 무대와 리프트의 속도를 높이고, 플라잉 시스템을 가동하여 인물이 공간을 자유롭게 이동하도록 구현합니다. 이때 고출력 서보 모터와 정밀 제어 시스템이 활용됩니다.

• Vsys 저항 장면: 인물의 욕망이 외부 압력에 억눌리게 느리고 무거운 무대 움직임을 회전 무대와 리프트의 속도를 낮추고, 장애물을 배치하여 인물의 움직임을 제한한다.

• ∑∆(x,y) 확장 : 인물의 욕망이 공간적으로 확장되는 장면에서 연출가는 무대 공간의 왜곡을 요구하는 프로젝션 맵핑 기술을 활용하여 무대 바닥과 벽면에 역동적인 영상을 투사하고, 무대 장치의 위치를 변경하여 공간감을 왜곡하기 위해 고해상도 프로젝터와 영상 처리 기술이 활용해서 베토벤 월광곡의 아름답고도 애절한 선율을 욕망의 움직임과 어우러지게 한다.

- Step 2: Implement the visual energy that arises from the collision between the geometric structure (Vsys) of the score and the performer's real-time desire (Vact) with stage technology.

1. Stage floor plan and space composition

The stage consists of "Grid Floor," which symbolizes fixed customs, and "Fluid Void," which symbolizes fluid desires.

• The Core: The point where the conductor and soloist are located, where precise LIDAR sensors and eight infrared motion capture cameras are located in a concentric circle. (Central to collecting Vact data)

• The Mirror of Desire: A large LED screen or translucent holographic membrane measuring 20 m by 10 m is installed.

• Kinetic Floor: The stage floor consists of 1m x 1m LED tiles, which move geometric fragments in real time according to the sum Delta (x,y) of the formula.

- The Mechanism of Desire Movement

The staging image, which applies a "dynamic formula of desire movement" to Beethoven's symphony scenario, defines the visual language of desire and elicits a dramatic flow.

• Vact Explosion: Explosive outbursts of character desires require fast and dynamic stage movements. Speed up the rotating stage and lift, and operate a flying system to allow the character to move freely through space. High-powered servo motors and precision control systems are utilized.

• Vsys Resistance Scene: the character's desire slows down the rotational stage and lift and places obstacles to limit the character's movement.

• Expansion of ∑∆ (x,y): In a scene where a person's desire is spatially expanded, the director projects dynamic images on the stage floor and wall using projection mapping technology that requires distortion of stage space, and high-resolution projectors and image processing technology are used to distort the sense of space by changing the position of the stage device to blend the beautiful and mournful melody of Beethoven's Moonlight song with the movement of desire.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-24

2. 디테일 무대장치 설계 (Technical Details)

① 실시간 모션 캡처 및 데이터 변환 시스템

• Vact 추출 장치: 연주자의 활 끝과 지휘자의 지휘봉에 IMU(관성 측정 장치) 센서를 부착합니다.

• 데이터 연동:

• 활의 속도가 빨라지면(Vact uparrow), 미디어 아트의 입자 밀도가 높아집니다.

• 전통적 박자(Vsys)와 연주자의 리듬(Vact) 사이의 오차가 커질수록 입자의 색상은 붉은색(Desire Peak)으로 변합니다.

② 입자 시스템 (Particle System) 시각화

• 알고리즘: sum Delta(x,y)를 입자의 '잔상 궤적'으로 치환합니다.

• 효과: 음악이 전개됨에 따라 입자들은 베토벤 악보의 오선지 형태를 띠다가, 발전부(Development)에 이르면 공식의 역학적 힘에 의해 오선지가 찢겨 나가며 무대 전체로 비산(Scattering)하는 효과를 줍니다.

2. Technical Details

① Real-time motion capture and data conversion systems

• Vact extraction device: Attach an Inertial Measurement Unit (IMU) sensor to the bow tip of the performer and the baton of the conductor.

• Data Interworking:

• As the bow speeds up (Vact uparrow), the particle density of the media art increases.

• As the error between the traditional beat (Vsys) and the performer's rhythm (Vact) increases, the particle's color changes to Desire Peak.

② Particle System Visualization

• Algorithm: Replace sum Delta(x,y) with the 'afterimage trajectory' of the particle.

• Effect: As the music develops, the particles take the form of a stave of Beethoven's score, and when they reach the development, the stave is torn by the mechanical force of the formula and scattering throughout the stage.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-25

3. 공연 장면 퍼스펙티브 렌더링 (Perspective Rendering)

• View Point: 객석 중앙에서 바라본 시점.

• 장면 묘사:

• 제시부: 무대 중심에서 은은한 푸른색 그리드가 바닥에 깔리며 절제된 욕망을 보여줍니다.

• 발전부: 지휘자의 격렬한 손짓에 맞춰 무대 배경의 LED가 폭발하듯 기하학적 입자들을 쏟아냅니다. 입자들은 공중에서 공식의 수식 모양으로 군집을 이뤘다가 다시 흩어집니다.

• 재현부: 파편화된 입자들이 다시 모여들지만, 이전의 직선적인 그리드가 아닌 곡선적이고 유기적인 '욕망의 네트워크' 구조를 형성합니다.

3. Performance scene Perspective Rendering

• View Point: View from the center of the auditorium.

• Scene Description:

• Presentation: At the center of the stage, a subtle blue grid is laid on the floor, showing an understated desire.

• Development Department: To the violent hand gestures of a conductor, the LED in the background explodes and gushes out geometric particles. The particles cluster in the air into a formula and then scatter again.

• Reproduction: Fragmented particles regroup, but form a curved, organic 'network of desire' structure rather than the previous straight grid.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-26

4. 조명 설계 및 무대장치 효과 (Lighting &Special Effects)

① 조명 설계 (Lighting Design)

• 레이저 스캐닝: 무대 천장에 설치된 고해상도 레이저가 연주자의 동선에 맞춰 바닥에 실시간으로 공식의 변수(V, dt, Delta)들을 투사합니다.

• 스포트라이트의 해체: 고정된 핀 조명을 사용하지 않고, 연주자의 움직임(Vact)에 반응하여 빛의 각도와 강도가 유동적으로 변화하는 지능형 무빙 헤드를 운용합니다.

4. Lighting & Special Effects

① Lighting Design

• Laser scanning: A high-resolution laser installed on the ceiling of the stage projects the variables of the formula (V, dt, Delta) to the floor in real time, in line with the movement of the performer.

• Dismantling the Spotlight: It operates an intelligent moving head whose angle and intensity of light change fluidly in response to the player's movement (Vact) without the use of fixed pin lighting.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-27

② 무대장치 효과 (Special Effects)

• 안개 시스템 (Haze &Desire): 무대 하부에서 뿜어져 나오는 미세한 안개는 입자 시스템의 레이저 빛을 입체화하여, 관객이 마치 거대한 욕망의 통계 시스템 내부에 들어와 있는 듯한 착각을 불러일으킵니다.

• 자기 부상 오브제 (Mag-Lev Objects): 무대 곳곳에 배치된 금속 파편 오브제들이 음악의 클라이맥스(최대 Mdesire에서 자기력에 의해 공중으로 10~20cm 부상하며 공간의 중력을 상실한 욕망의 해방감을 표현합니다.

② Special Effects

• Haze & Desire: The fine mist emanating from the lower part of the stage makes the laser light of the particle system three-dimensional, creating the illusion that the audience is inside a huge statistics system of desire.

• Mag-Lev Objects: Metal debris objects placed throughout the stage rise 10 to 20 cm into the air by magnetic force at the climax of music (maximum Mdesire), expressing the sense of freedom of desire that has lost the gravity of the space.

 Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-28

[최철주의 욕망 움직임 역학 공식을 공간의 청각적 부피와 시간의 시각적 왜곡으로 치환한 '영웅(Eroica)' 사운드 마인드 공연 디자인 3단계] : 관객이 단순한 관찰자를 넘어, 베토벤의 음악이 욕망의 물리적 입자로 변환되는 '공명(Resonance)'의 장치 내부로 편입됩니다.

1. 사운드 마인드 레이아웃: 욕망의 부피 (Sound Mind Layout), 공식의 공간 변수 (x, y)와 그 변화량인 sum Delta를 청각적으로 구현하기 위해 3차원 앰비소닉스(Ambisonics) 시스템을 구축합니다.

- 다채널 스피커 시스템 설계

• 고도화된 레이어링: 무대 바닥 레벨, 관객 귀 높이, 그리고 천장의 '보이드(Void)' 공간까지 총 3개 층으로 스피커를 배치합니다.

• 사운드 오브젝트 무브먼트: 베토벤의 '영웅' 선율(제1주제)이 고정된 위치에서 들리지 않고, 공식의 Delta(x, y) 값에 따라 관객의 머리 위를 소용돌이치며 지나가도록 설계합니다.

• 욕망의 물리적 압력: Vact - Vsys의 값이 커질수록 저주파 진동(Sub-bass)을 강화하여, 관객이 가슴으로 '욕망의 부피'를 직접 느끼게 합니다.

- 사운드 마인드 공연 이미지 묘사

• 공연장은 투명한 음향 반사판들이 공중에 부유하는 형태이며, 각 반사판은 소리의 위치에 따라 미세하게 각도를 조절합니다. 

• 소리가 이동할 때마다 그 궤적을 따라 미세한 빛의 파동이 일렁이는 '보이지 않는 조각'으로서의 사운드 이미지를 시각화합니다.

[Step 3 of 'Eroica' sound mind performance design, replacing Choi Cheol-joo's desire movement dynamics formula with visual distortion of space volume and time]: The audience is incorporated into the device of 'Resonance', where Beethoven's music is converted into physical particles of desire, beyond just an observer.

1. Sound Mind Layout: Builds a three-dimensional Ambisonics system to audibly implement Sound Mind Layout, spatial variables (x, y) of formulas and their variance, sum Delta.

- Multi-Channel Speaker System Design

• Advanced layering: Place speakers on a total of three floors, from stage floor level, audience ear height, and 'void' space on the ceiling.

• Sound Object Movement: Designed so that Beethoven's 'Hero' melody (the first theme) is not heard in a fixed position, but swirled over the audience's head according to the Delta (x, y) value of the formula.

• Physical Pressure of Desire: The larger the value of Vact - Vsys, the stronger the Sub-bass, making the audience feel the 'volume of desire' directly with their chests.

- Sound Mind Performance Image Description

• The concert hall is a form in which transparent acoustic reflectors float in the air, and each reflector adjusts the angle finely according to the position of the sound. 

• Visualize the sound image as an 'invisible piece' in which fine light waves waft along its trajectory each time the sound moves.

 Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-29

2. 조명 디자인: dt(시간의 미분)와 시간의 왜곡

공식의 dt는 시간의 흐름을 상징합니다. 이를 시각적으로 분절하고 연장하여 '욕망이 머무는 시간'을 표현.

- 스트로보와 잔상의 교차 (Time-Slicing)

• 극단적 미분 (dt  → 0): 음악의 Vact가 폭발하는 순간, 초당 20회 이상의 초고속 스트로보 조명을 사용하여 연주자의 움직임을 정지된 프레임처럼 분절합니다. 이는 시간의 흐름을 쪼개어 무의식의 찰나를 포착하는 장치입니다.

• 적분된 잔상 (dt의 누적): 스트로보 사이사이에 '애프터글로우(Afterglow)' 레이저를 투사하여, 방금 지나간 연주자의 궤적이 공중에 3~4초간 머물게 합니다. 이는 과거의 욕망이 현재의 공간에 중첩되는 현상을 시각화합니다.

2. Lighting design: dt (differentiation of time) and distortion of time

The dt in the formula symbolizes the passage of time. It is visually segmented and extended to express the "time the desire stays".

- Time-Slicing of Strobo and Afterimage

• Extreme Differentiation (dt → 0): The moment the music's Vact explodes, it uses ultra-fast strobe lights more than 20 times per second to segment the player's movements like a stationary frame. It is a device that splits the passage of time and captures the moment of the unconscious.

• Integrated Afterimage (accumulation of dt): Projecting an "Afterglow" laser between the strobe, allows the trajectory of a player who just passed to stay in the air for three to four seconds. This visualizes the phenomenon where the desire of the past superimposes on the present space.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-30

- 사운드 마인드 공연 무대 장면 렌더링

• Perspective Rendering:

• 무대 전체는 깊은 심해와 같은 어둠 속에 잠겨 있습니다.

• 베토벤의 강렬한 화음이 터질 때마다, 관객석을 가로지르는 수만 개의 화이트 레이저 빔이 스트로보 효과와 함께 나타납니다.

• 연주자의 팔 움직임 뒤로 보라색과 금색의 빛의 잔상(Ghost Path)이 수채화처럼 번지며, 마치 악보가 공중에서 실시간으로 그려지는 듯한 환상적인 분위기를 연출합니다.

- Soundmind Performance Stage Scene Rendering

• Perspective Rendering:

• The entire stage is submerged in a deep, deep-sea darkness.

• Whenever Beethoven's intense chords burst, tens of thousands of white laser beams across the audience appear with the strobe effect.

• Behind the movement of the performer's arms, a purple and gold afterimage of light spreads like a watercolor painting, creating a fantastic atmosphere as if the score were being drawn in real time in the air.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-31

- 최종 디자인의 핵심 미학: "욕망의 공명"

이 공연 디자인은 베토벤의 '영웅'이 가진 에너지를 최철주 공식을 통해 '공간적 부피(Sound)'와 '시간적 변이(Light)'로 번역합니다. 관객은 악보라는 시스템(Vsys)이 연주자의 의지(Vact)에 의해 해체되고, 다시 새로운 욕망의 질서(Mdesire)로 재구성되는 과정의 중심에 서게 됩니다.

- The Core Aesthetics of the Final Design: "Resonance of Desire"

This performance design translates the energy of Beethoven's "Hero" into "Sound" and "Light" through Choi Cheol-joo's formula. The audience is at the center of the process in which the system (Vsys) called the score is dismantled by the player's will (Vact) and reconstructed into a new order of desire (Mdesire).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-32

3. 사운드 마인드 연출 (Sound Mind Design) 시나리오 적용 

- V sys  강조 (사운드 전개): 정적이고 기하학적인 그리드 조명 아래, 악보에 충실한 클래식 연주.

- V a c t −V sys  발생 (사운드 절정): 연주자가 악보를 이탈하는 퍼포먼스. 불협화음과 함께 조명이 일그러짐.

- d t 와 결합된 폭발 (사운드 종결): 고속 촬영된 영상이 느리게 재생되며, 모든 움직임이 미세하게 분해되어 스크린에 투사됨.

- ∑∆ (x,y)의 통합 (사운드 마운드 결합): 무대 전체가 거대한 하나의 추상화로 변하며, 사운드의 잔향만 남음.

- M-Desire: 사운드 음향 설계 분석 : 이 설계는 소리를 단순한 파동이 아닌, 질량(Mass)과 구조(Architecture)를 가진 물리적 실체로 변환하는 것을 목표로 합니다.

1. 핵심 알고리즘 및 수식

• 시스템 설계 공식: Mdesire = (Vact- Vsys) cdot dt + sum Delta(x,y)

• Vact - Vsys: 실제 연주 전압과 시스템 제어 전압의 차이를 통한 동적 에너지 산출.

• dt: 시간의 흐름에 따른 사운드의 밀도 변화.

• sum Delta(x,y): 공간 좌표상에서의 음압 분포와 갈망(Desire)의 매핑.

2. 3중 지능형 코어 시스템 (AI Trio)

• 무대 중앙의 빛의 다면체는 세 명의 AI 로봇에 의해 제어되며, 각각 다음의 음향 역할을 수행합니다.

• The Fluid Void (유체 공백): 리빙 구조체로서 사운드의 기초 잔향과 공간적 깊이감을 형성합니다.

• Central Core (중앙 코어): 실제 전압(Vact)과 시스템 전압(Vsys) 사이의 균형을 맞추며 사운드에 질량을 부여합니다.

• Spatial Transition (공간 전이): '갈망의 매핑'을 통해 소리를 3차원 공간상의 좌표(x, y)로 배치하고 이동시킵니다.

3. 시각적 음향 매핑 (Visual Mapping)

• 레이저 그리드 시스템: 다채로운 색상의 직선 레이저들이 복잡하게 교차하며 소리의 주파수 대역과 리듬을 시각화합니다.

• 다면체 공명기: 무대 중앙의 거대한 다면체는 사운드 에너지가 응축되는 지점으로, 베토벤 5번 교향곡의 에너지를 백색광의 폭발로 치환하여 방출합니다.

4. 음향적 특징

• 사운드의 질량화: "소리는 질량이 되고, 갈망은 영원한 구조가 되리라"는 가사처럼, 저주파 대역에 강력한 에너지를 배치하여 청중이 소리를 물리적인 무게감으로 느끼게 설계되었습니다.

• C장조의 환희: 극의 절정에서 모든 시스템 불일치를 해소하고 완전한 조화(C Major) 상태로 수렴하며 시스템의 임계치를 돌파합니다.

3. Application of Sound Mind Design Scenario 

- Vsys emphasis (sound development): classical performance true to the score, under static and geometric grid lighting.

- Vact - V sys Occurrence (Sound Peak): Performance in which the performer deviates from the score. Distorted lighting with dissonance.

- Explosion combined with dt (sound termination): High speed video played slowly, all movements finely broken down and projected onto the screen.

- Integration of ∑∆ (x,y): the entire stage turns into one enormous abstraction, leaving only the reverberation of the sound.

- M-Desire: Sound Acoustic Design Analysis: This design aims to transform sound into a physical entity with mass and structure, not just a wave.

1. Key algorithms and formulas

• System Design Formula: Mdesire = (Vact-Vsys) cdot dt + sum delta(x,y)

• Vact - Vsys: Calculate dynamic energy through the difference between the actual performance voltage and the system control voltage.

• dt: Density change of sound over time.

• sum Delta(x,y): mapping of sound pressure distribution and craving over spatial coordinates.

2. Triple Intelligent Core Systems (AI Trio)

• The light polyhedron in the center of the stage is controlled by three AI robots, each serving as the following sound roles.

• The Fluid Void: As a living structure, it forms the basic reverberation and spatial depth of sound.

• Central Core: Balance between the actual voltage (Vact) and the system voltage (Vsys) to give the sound mass.

• Spatial Transition: 'Mapping of Lament' places and moves the sound in coordinates (x, y) in 3D space.

3. Visual Mapping

• Laser Grid System: Colorful straight lasers intersect complexly and visualize the frequency band and rhythm of sound.

• Polyhedral resonator: The great polyhedron in the center of the stage is the point where the sound energy is condensed, and the energy from Beethoven's Fifth Symphony is replaced by an explosion of white light and emitted.

4. acoustic features

• Quality of Sound: Like the lyrics, "Sound becomes mass, yearning becomes an eternal structure," it is designed to place powerful energy in low-frequency bands so that the audience feels the sound as a physical weight.

• The jubilation in C major: at the peak of the play, it resolves all system discrepancies, converges to a state of perfect harmony, and breaks the threshold of the system.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-33

- 베토벤의 교향곡 제3번 '영웅(Eroica)'의 소나타 형식을 오페라 시나리오의 갈등 구조로 변환함에 있어, 최철주의 욕망 움직임 역학 공식을 적용한 구체적인 미학, 

이 극적 구성에서 제시되는 베토벤의 Vact와 고전적 규범 Vsys의 충돌은, 단순한 음악사적 사건을 넘어 현대 미학가 최철주가 주창한 '욕망 개념'의 회화적 해체와 맞물리며 존재론적 변이를 일으킨다. 최철주의 미학에서 욕망은 대상을 재현하는 것이 아니라 대상의 구조를 파괴함으로써 비로소 드러나는 비가시적인 생명력의 흔적인데, 이는 베토벤이 청력을 잃어가는 신체적 한계를 극복하기 위해 나폴레옹이라는 가상의 영웅성을 빌려 기존의 정형화된 오케스트라 배치와 음악적 관습을 난도질하는 행위와 궤를 같이한다. 투명 막에 투사되는 해체된 이미지들은 악보라는 텍스트적 질서(Vsys)가 지휘자의 주관적 의지(Vact)에 의해 어떻게 유동적인 에너지로 전환되는지를 보여주며, 여기서 발생하는 '시각적 불일치'는 관객으로 하여금 고정된 의미의 체계가 붕괴할 때 발생하는 숭고한 미적 쾌락을 경험하게 한다. 결국 이 무대는 베토벤의 실청이라는 결핍이 최철주의 욕망 개념을 통해 어떻게 창조적 파괴로 승화되는지를 추적하며, 영웅적 서사의 종말이 곧 현대적 주체의 탄생임을 선언하는 거대한 미학적 선언문이 된다.

제2막에서 극대화된 시간의 가중치 dt는 단순한 물리적 변수가 아니라, 영웅적 욕망이 좌절되었을 때 주체가 겪게 되는 심리적 점성을 시각화하는 미학적 장치로서, 이는 최철주가 주창한 ‘욕망 개념’의 해체적 맥락에서 대상의 형상을 지우고 그 자리에 남은 비가시적인 고통의 흔적을 유체 미디어 아트로 치환한 결과물이다. 최철주의 추상 미학은 재현적 이미지가 소멸한 지점에서 발생하는 순수한 에너지의 흐름을 강조하는데, 본 무대에서 바닥을 구르는 늪과 같은 영상은 베토벤의 내면에서 나폴레옹이라는 구상적 우상이 파괴되고 남은 ‘슬픔의 잔해’들이 어떻게 물리적 공간을 점유하고 시간을 정체시키는지를 탁월하게 묘사하며, dt의 증가에 따른 발걸음의 무게감은 관객으로 하여금 가시적인 드라마를 넘어 비가시적인 존재의 무게를 신체적으로 전이 받게 만든다. 따라서 이 정체된 시간의 소용돌이는 선형적 역사의 종말이자, 욕망의 대상이 사라진 뒤에 홀로 남겨진 예술가가 자신의 내면적 심연을 향해 침잠하는 과정을 최철주 식의 긴 긴 호흡의 선형적 해체로 풀어낸 미학적 정점이라 할 수 있으며, 이는 곧 영웅주의의 죽음이 현대적 고독의 탄생으로 전이되는 숭고한 장송곡이 된다.

본 작품의 제3~4악장에서 구현되는 sum\Delta(x,y)의 미학은, 최철주 평론가가 일관되게 추구해온 ‘욕망 개념’의 정점으로, 이는 개별적 자아의 붕괴 이후에 찾아오는 파편화된 기호들이 어떻게 예술적 연산 과정을 거쳐 보편적 가치로 재구성되는지를 보여주는 혁명적 시각화이다. 무대 위에 부유하는 거울 파편들은 베토벤이 겪은 실청과 배신이라는 개별적 사건(Delta)들을 상징하며, 이것들이 키네틱 아트라는 기하학적 운동성을 통해 거대한 의미의 체계(sum)를 형성하는 과정은 최철주 식 추상 미술이 단순한 형태의 파괴를 넘어 형태 이전의 순수한 에너지를 지적인 질서로 재배치하는 고도의 정신적 공학임을 증명한다. 여기서 거울은 타자의 시선을 반사하는 도구인 동시에 스스로를 응시하는 대타자의 눈이 되어, 분산된 빛의 좌표(x,y)들을 인류애라는 거대한 서사 속에 통합시키고, 이는 베토벤의 후기 음악이 도달한 ‘환희’의 본질이 사실은 고통의 파편들을 정교하게 조립하여 만든 ‘결핍의 결정체’임을 드러낸다. 결론적으로 이 무대는 최철주의 미학적 엄밀함과 베토벤의 영웅적 의지가 결합하여, 인간의 욕망이 어떻게 개인의 비극적 우연성을 필연적이고 보편적인 예술적 법칙으로 전이시키는지를 보여주는 지적이고도 감동적인 재구성이자 현대 미술평론의 새로운 지평이라 할 수 있다.

최철주의 욕망 움직임의 역학 공식은 베토벤의 '영웅'이라는 청각적 실체를 시각적 운동성으로 치환하는 과정에서, 관습적인 음악 해석의 틀을 벗어나 욕망의 미분적 파편들이 어떻게 공간적 좌표(x,y) 위에서 새로운 미학적 실체로 재구성되는가를 엄밀하게 증명하고 있는데, 이는 베토벤이 겪었던 고막의 폐쇄라는 물리적 시스템(Vsys)의 제약을 창조적 속도(Vact)로 돌파하여 얻어진 비가시적 진동을 무대 디자인의 구조적 필연성으로 전환한 것이며, 따라서 이번 무대는 단순한 오페라의 배경이 아니라 캔버스 위에 투사된 욕망의 궤적이 시간적 지속(dt)을 통해 기호적 합산(sum)에 도달하는 현대 추상 미술의 절정이자, 소설가적 상상력이 결합된 긴 문장의 서사적 호흡이 미학적 평면 위에서 역동적으로 살아 숨 쉬는 하나의 거대한 '개념적 유기체'라고 평가할 수 있다.

베토벤이 전통적인 소나타 형식의 규범(Vsys)을 파괴하고 확장하며 보여준 '영웅'의 음악적 서사는, 오페라 시나리오 내에서 주체의 억압된 본능이 사회적 질서와 충돌하는 격렬한 갈등 구조로 전이됩니다.

제시부(Exposition)에서는 강력한 Eb 장조 코드와 함께 철저히 통제된 기하학적 공간이 설정되는데, 이는 주인공이 대타자의 시선과 상징계의 법에 갇혀 있음을 의미하며, 여기서 주체의 실제 욕망(Vact)은 "나는 원한다"라는 금기된 속삭임으로 간신히 발현됩니다.

발전부(Development)에 이르러 음악적 불협화음과 스포르찬도는 공식상의 (Vact - Vsys)가 최대치에 도달하는 지점으로 설계되며, 무대 위에는 수백 장의 악보(시스템의 잔해)가 비처럼 쏟아지는 가운데 연주자가 악기를 타격하거나 신체적 고통을 표현하는 '욕망의 소음'을 통해 규격화된 인간을 넘어선 원초적 존재로의 회귀를 시도합니다.

마지막 재현부(Recapitulation)는 단순한 반복이 아닌 변형된 욕망의 수용을 의미하며, 파편화되었던 소음과 시각적 조각들이 sum Delta(x,y)에 의해 새로운 유기적 네트워크로 통합되면서, 주인공이 자신의 상처를 스스로의 악보로 긍정하는 '욕망의 공명'을 통해 비로소 진정한 주체적 영웅으로 귀결된다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-34

- In transforming the sonata form of Beethoven's Symphony No. 3 "Eroica" into a conflict structure of an opera scenario, specific aesthetics applying Choi Chul-joo's desire movement dynamics formula,

The collision between Beethoven’s Vact and the classical norm Vsys presented in this dramatic composition transcends a mere music-historical event, triggering an ontological mutation as it intertwines with the pictorial deconstruction of the "desire concept" advocated by contemporary aesthetician Choi Chul-joo. In Choi’s aesthetics, desire is not a representation of the object but a trace of invisible vitality revealed only through the destruction of the object’s structure; this aligns with Beethoven’s act of slashing through established orchestral arrangements and musical conventions by borrowing a virtual heroism in the form of Napoleon to overcome the physical limitations of his progressing deafness. The deconstructed images projected onto the transparent scrim demonstrate how the textual order of the score (Vsys) is transformed into fluid energy by the conductor’s subjective will (Vact), where the resulting "visual discrepancy" allows the audience to experience the sublime aesthetic pleasure that occurs when fixed systems of meaning collapse. Ultimately, this stage tracks how the deficiency of Beethoven’s hearing loss is sublimated into creative destruction through Choi Chul-joo’s concept of desire, serving as a grand aesthetic manifesto that declares the end of the heroic narrative to be the very birth of the modern subject.

The weight of time dt, maximized in Act II, is not a mere physical variable but an aesthetic device that visualizes the psychological viscosity experienced by the subject when heroic desire is frustrated; in the deconstructive context of Choi Chul-joo’s "desire concept," this is the result of erasing the object’s form and replacing it with fluid media art representing the invisible traces of pain left behind. Choi’s abstract aesthetics emphasize the flow of pure energy occurring at the point where representational images vanish; on this stage, the swamp-like visuals rolling across the floor excellently depict how the "debris of sorrow" left after the destruction of the figurative idol Napoleon within Beethoven’s inner self occupies physical space and stagnates time, and the heaviness of the steps as dt increases forces the audience to physically experience the weight of an invisible existence beyond visible drama. Consequently, this vortex of stagnant time is both the end of linear history and the aesthetic pinnacle where the artist, left alone after the object of desire has vanished, sinks into their own inner abyss—a process unraveled through Choi Chul-joo’s signature long-breathed linear deconstruction—becoming a sublime funeral dirge where the death of heroism transitions into the birth of modern solitude.     

The aesthetics of sum\Delta(x,y) embodied in Acts III and IV of this work represent the zenith of the "desire concept" consistently pursued by critic Choi Chul-joo, serving as a revolutionary visualization of how fragmented signs following the collapse of the individual ego are reconstructed into universal values through an artistic computational process. The mirror fragments floating on stage symbolize individual events (Delta) such as the deafness and betrayal experienced by Beethoven; the process of these fragments forming a grand system of meaning (sum) through the geometric kinetics proves that Choi-style abstract art is a sophisticated mental engineering that transcends the mere destruction of form to rearrange pure pre-form energy into an intellectual order. Here, the mirror serves simultaneously as a tool reflecting the gaze of the Other and as the eye of the big Other gazing upon itself, integrating the coordinates of scattered light (x,y) into the grand narrative of humanity, which reveals that the essence of 'Joy' reached in Beethoven’s late music is, in fact, a 'crystal of lack' created by meticulously assembling fragments of pain. In conclusion, this stage is an intellectual and moving reconstruction where Choi’s aesthetic rigor meets Beethoven’s heroic will to demonstrate how human desire transposes individual tragic contingency into inevitable and universal artistic laws, marking a new horizon in contemporary art criticism.

Dr. Chul-joo Choi’s mechanical formula of desire movement, in the process of substituting the auditory substance of Beethoven’s 'Eroica' into visual motility, strictly demonstrates how the differential fragments of desire are reconstructed into a new aesthetic entity on spatial coordinates (x, y), moving beyond the conventional framework of musical interpretation; this is a conversion of the invisible vibrations—obtained by breaking through the constraints of the physical system (Vsys) of Beethoven’s aural closure with creative velocity (Vact)—into the structural necessity of stage design, and therefore, this stage is not merely an operatic backdrop but the pinnacle of contemporary abstract art where the trajectory of desire projected onto the canvas reaches a symbolic summation (sum) through temporal duration (dt), serving as a grand 'conceptual organism' where the narrative breath of long-sentence structures, combined with a novelist's imagination, dynamically breathes on the aesthetic plane.

In transforming the sonata form of Beethoven’s Symphony No. 3 'Eroica' into the conflict structure of an opera scenario, applying Choi Chul-joo’s dynamics of desire formula, M_desire = (Vac} - Vsys) \cdot dt \dotplus \sum\Delta(x,y), provides a profound artistic reinterpretation where the musical narrative of shattering traditional norms (Vsys) is translated into a violent clash between repressed instincts and social order.

In the Exposition, set within a rigidly controlled geometric space accompanied by powerful Eb Major chords, the protagonist is depicted as being trapped under the gaze of the Other and the law of the Symbolic, where the subject's actual movement of desire (Vact) barely manifests as a taboo whisper: "I want".

During the Development, the musical dissonance and sforzando represent the point where (Vact - Vsys) reaches its maximum value; as hundreds of scores (debris of the system) rain down on stage, performers abandon traditional playing to strike their instruments or express physical agony, creating a 'noise of desire' that attempts a regression toward a primordial existence beyond standardized humanity.

Finally, the Recapitulation signifies not a mere repetition but the acceptance of transformed desire, where the fragmented noises and visual shards are integrated into a new organic network via sum\Delta(x,y), culminating in a finale where the protagonist is reborn as a truly subjective hero through a 'resonance of desire' that affirms their own scars as their personal musical score.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드 디자인》-35

[Aesthetic review of the modern opera "Bethoven's Destiny score" as a theatrical scenario

: Sound Artist, Choi Chul-joo, theater/opera aesthetics critic (M.D. in cultural design)]

In this profound reinterpretation of Beethoven’s creative agony, we witness a radical aesthetic shift where the auditory void is not merely a deficit, but a structural 'Silent System' that functions as a meta-linguistic cage for the creative subject. The protagonist, Ludwig, oscillates between the Newtonian rigidity of the metronome and the fluid, unpredictable kinematics of his own internal desire, thereby challenging the Hegelian totality of musical form. By invoking the variable Vsys, the work posits that the loss of physical hearing acts as a catalyst for a 'conceptual abstraction' of sound, where melody is stripped of its sensory ornaments and reduced to its primordial, kinetic essence. This is not a mere biographical depiction; it is a violent interrogation of how the human will interacts with the deterministic gears of systemic reality. The Moonlight Sonata emerges here not as a romantic nocturne, but as a subversive atmospheric rupture that melts the 'mathematical formulas' of the universe into a subjective experience of the sublime, effectively demonstrating that the movement of desire is the only force capable of rewriting the silent codes of an indifferent existence.

In this audacious dramatization of the 'Accumulation of Time,' the work transcends the boundaries of musicology to enter the realm of conceptual abstract physics, where the symbol dt functions as a semiotic rupture in the fabric of traditional narrative. The author, through the lens of a relentless novelist, deconstructs the adagio movement not as a melodic progression, but as a dense accumulation of ontological friction. The tension between Vact (the actualized internal velocity of the artist) and Vsys (the systemic velocity of cultural inertia) creates a 'differential aesthetic' that suggests genius is found in the widening gap of alienation. Here, the artist’s body becomes a thermodynamic site of resistance, where the slow tempo serves to compress the raw intensity of desire into a singular point of infinite density. This conceptual abstraction, characteristic of Choi Chul-joo’s visual logic, posits that beauty is not found in harmony, but in the kinetic energy generated by the impossibility of being understood. By treating time as a series of divisible, accumulative shocks, the play argues that the Moonlight Sonata is actually a blueprint for a mechanical revolution of the spirit, where the differential of pain is integrated into a monumental engine of post-modern transcendence.

In this staggering theatrical sequence, we encounter the climax of 'Conceptual Abstraction,' where the stage functions as a topological battlefield between the static x, y coordinates of rationalism and the dynamic displacement Delta(x,y) of the desiring subject. The author employs the figure of Beethoven not as a historical relic, but as a kinetic agent who destabilizes the very foundation of the 'Silent System.' By visualizing the displacement of the soul as a deviation from the coordinate plane, the work critiques the modern obsession with quantifying existence into measurable data points. This is what Choi Chul-joo describes as the 'aesthetic of the void'—a state where the trajectory of the artist refuses to be integrated into the summation of the space, instead creating a 'misalignment' that breathes life into the cold machinery of Vsys. The departure from the staff lines is not an act of musical rebellion, but a metaphysical transcendence; it is the moment where the 'mathematical formulas' of the first act are finally incinerated by the friction of Vact. Thus, the Moonlight Sonata is reimagined as a map of a territory that does not exist on any physical plane, proving that true genius is the ability to vibrate in the gaps between the lines, where the coordinates of the world fail to meet the infinity of the human heart.

In the final movement of this dramatic contemporary opera, "The Destiny of Beethoven", performance aesthetic review, we witness the 'object' completely collapse into 'frequency'. The official Mdesire presented by the author is not just a prop; it is a conceptual weapon that destroys the Cartesian stability of the previous films. Through the lens of a master novelist, we see the 'accumulation of time' (dt) and 'distorted coordinates' finally collide, causing a kinetic explosion that makes Vsys old-fashioned. This is the culmination of Choi Chul-joo's 'conceptual abstract', where the artist's pain is no longer a psychological state but a mathematical inevitability to destroy the old world. The Wolgwang Sonata is redefined here as a thermodynamic event. In other words, it is a structural crack in music history where the 'desire' of the subject becomes a universal constant. When Ludwig declares himself as the 'sound itself', he announces the end of the representative art and the birth of instinctive and abstract reality, in which the only truth is the movement. This explosion means that the sublime of the ultimate aesthetic desire structure is not found in the harmony of celestial bodies but in the fierce and beautiful friction of the self that refuses to be measured by anything other than one's irrepressible vibration.

- In transforming the sonata form of Beethoven's Symphony No. 3 "Eroica" into a conflict structure of an opera scenario, specific aesthetics applying Choi Chul-joo's desire movement dynamics formula, 

Beethoven's musical narrative of "Hero," which destroys and extends the norms of the traditional sonata form (Vsys), is transferred to a violent conflict structure in which the subject's repressed instincts collide with social order within an opera scenario.

In the Exposition, a tightly controlled geometric space is set with a strong Eb major code, meaning that the protagonist is trapped in the laws of the pinch hitter's gaze and the symbolic world, where the subject's actual desire (Vact) is barely expressed in a taboo whisper of "I want to."

By reaching the development department, musical dissonance and Porchando are designed to be the point where the official Vact - Vsys reaches its maximum, and hundreds of sheet music (the remnants of the system) are pouring rain on the stage, and the performer tries to return to the original being beyond the standardized human through the "noise of desire" that strikes the instrument or expresses physical pain.

Recapitulation refers to the acceptance of transformed desires, not just repetition, and as the fragmented noise and visual pieces are integrated into a new organic network by sum Delta (x,y), the protagonist finally becomes a true subjective hero through the Resonance of Desire, which affirms his wounds with his own score.

■ 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 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.

- “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. 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.

 AI 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).