메타버스 아티스트 최철주 [1] Metaverse Artist Choi Chul-joo, 메타버스 아티스트 최철주는 가상세계와 메타버스

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메타버스 아티스트 최철주 [1] Metaverse Artist Choi Chul-joo,  공연 예술 메타버스 아티스트 최철주는 가상세계와 메타버스 공간에서 활동하는 창작자로서 단순히 개념추상 가상현실(VR)이나 추상적 리얼리즘 증강현실(AR)을 넘어서, 디지털 세계와 현실 세계가 융합된 새로운 미래 공간에서 의식적 욕망 디자이너이다. 즉, 실재와 지능형 인공지능 AI 로봇을 통해 가상 공간에서 소통하고, 미래 디자인 활동을 하고, 예술을 창작하는 확장된 디지털 우주 공간 예술 아티스트다. Performing Arts Metaverse Artist Choi Chul-joo is a creator who works in virtual and metaverse spaces and is a conscious desire designer in a new future space where the digital and real worlds are fused beyond just conceptual abstract virtual reality (VR) or abstract realism augmented reality (AR). In other words, he is an expanded digital space art artist who communicates in virtual spaces, conducts future design activities, and creates art through real and intelligent AI robots. / 사운드 마인드 디자인 무대 연출가 루이 최철주 Sound Mind Design Stage Director Louis Choi Chul-joo / 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.

최철주의 의식적 욕망은 사물, 공간, 경험 속에서 의식, 상징, 집단적 욕망의 미적 의미를 내포하려는 디자인 충동입니다. 단순히 미학뿐만 아니라 욕망 구조와 의식적 변형 욕망의 의도적인 디자인을 정의합니다. 의식화된 욕망 디자인은 일상적인 물건이나 공간은 의식 도구로 격상된 미적 디자인을 통해 예술의 기하학적 모티브와 같은 문화적 욕망 의미를 연출한다. 이것은 타자의 욕망 디자인으로서 의식의 욕망 구조 경로에서 의식적 욕망 홀에 이르는 사건 이미지의 장면처럼 무대 공간을 연출한다. 따라서 루의 최 욕망 역학 공식을 적용하여 건축 구조를 가진 의식적인 문화적 욕망을 실현하는 현대적인 의식적 욕망 구조의 무대 디자인을 연출합니다.

Choi Chul-joo's Conscious Desire is a design impulse to imply the aesthetic meaning of consciousness, symbols, and collective desires in objects, spaces, and experiences. It defines not just aesthetics but also the structure of desire and the deliberate design of conscious transformation desire. The conscious desire design creates the meaning of cultural desire, such as the geometric motif of art, through aesthetic design in which everyday objects or spaces are elevated to conscious tools. As the other's desire design, it creates a stage space like a scene in an event image from the path of conscious desire structure to conscious desire hall. Therefore, Lu's formula for the dynamics of maximum desire is applied to create a stage design with a modern conscious desire structure that realizes conscious cultural desires with architectural structures. /  욕망 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.  A desire 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.

루이 최의 욕망적 언어 구조란 추상적 욕망의 이미지가 욕망 개념의 언어적 의미 구조인 것처럼 여겨지는 시선의 현실상이다. 의식적 욕망 디자인 무대미술가 최철주는 현대미술비평과 함께 개념추상 리얼리즘 무대디자인이라는 개념으로 현대 공간 무대의 미적 가치, 프로세스, 예술성에 접근하고 있다. 그의 무대 공간 비평은 사진, 만화, 미술, 디자인의 예술성이 언어적 문법 구조로 작품의 의미에 접근해 현대 팝 미술개념의 현실을 비판하는 시각예술 이론을 가리킨다, 현대 무대 공간 예술을 통한 현대 개념의 추상적 욕망을 언어적 의미를 시각화하여서 공예, 사진, 만화, 미술, 디자인의 미적 가치, 과정과 예술성을 검증하여 의식적 욕망 디자인의 의미에 접근한다. Louis Choi's Desireful Language Structure is the reality of the gaze in which the image of abstract desire is considered to be the linguistic semantic structure of the concept of desire. Conscious Desire Design Stage Artist Choi Chul-joo is approaching the aesthetic value, process, and artistry of the contemporary space stage with the concept of conceptual abstract realism stage design along with contemporary art criticism. His stage space criticism refers to the visual art theory that criticizes the reality of the concept of contemporary pop art by approaching the meaning of the work with a linguistic grammar structure. By visualizing the linguistic meaning of the abstract desire of contemporary concepts through contemporary stage space art, the meaning of conscious desire design is approached by verifying the aesthetic value, process, and artistry of crafts, photographs, cartoons, art, and design.

모차르트 (W.A. Mozart) 교향곡 제41호 다장조 KV 551 《주피터》 (Symphony No. 41 "Jupiter") 악보를 사운드 마인드로 전이한 오페라 시나리오에 최철주 욕망 움직임의 역학 공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”을 적용한 공연 무대 작화 (추상화) Wolfgang Amadeus Mozart (W.A. Mozart) Symphony No. 41 in C major KV 551 (Symphony No. 41 "Jupiter") The opera scenario, which transitions the score to a sound mind, is a performance stage abstract painting (Background drawing of stage equipment) that applies the dynamic formula "Mdesire = (Vact – Vsys) – dt ∔ ∑∆ (x,y)"

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-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 마인드로 전이한 오페라 시나리오》-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 마인드로 전이한 오페라 시나리오》-3

[모차르트의 마지막 교향곡인 교향곡 제41호 다장조 KV 551《주피터(Jupiter)》의 악보 구조를 시각적·공간적 마인드로 전환하고, 이를 최철주 욕망 움직임의 역학 공식을 통해 오페라 무대디자인] : 주피터 교향곡 4악장에서 극치에 달하는 ‘5성부 카논풍 푸가(대위법)’의 음악적 결합과 에너지를 인간 욕망의 역동적 궤적으로 치환하여 무대 공간에 투사합니다.

- 오페라 시나리오 및 무대디자인 계획안

부제: 주피터의 응시와 다성(Polyphony)적 욕망의 궤적

1. 기본 개념 및 역학 공식의 해석

최철주 욕망 움직임의 역학 공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)” (욕망 움직임의 질량/모멘텀): 무대 위에서 시시각각 변화하는 시각적 에너지와 구조물의 역동적 상태.

• Vact (실제 가창/연주의 운동 속도): 오페라 가수의 보컬 에너지, 오케스트라의 템포, 그리고 무대 위 무용수들의 실제 물리적 움직임 속도.

• Vsys (시스템의 통제 속도 / 대타자의 규율): 무대 기계 장치, 그리드 시스템, 조명 프로그래밍이 가진 고정된 제도적 속도.

• dt (시간의 미소 변화량): 음악의 마디와 박자가 흘러감에 따라 누적되는 시간의 연속성.

• sum\ Delta(x,y) (좌표 평면상 무의식적 결핍/시선의 변위): 2차원 평면(혹은 무대 바닥면)에서 관객의 응시(partial)와 무대 위 기호들이 만들어내는 위치적 편차의 총합.

2. 무대세트의 영상 구조 전이 메커니즘

• 상징계적 물질성 (Vsys): 무대 위의 거대한 톱니바퀴, 유압 실린더, 격자형 네온 구조물 등 주체를 규율하는 고정된 시스템입니다.

• 실재적 유동성 (sum Delta(x,y)): 물질이 해체되면서 뿜어져 나오는 비선형적 에너지 궤적이며, 파편화된 기하학적 형태와 왜곡된 빛의 스펙트럼으로 이루어진 2차원 추상 회화 데이터입니다.

• 전이 과정 (dt to 0): 시스템 속도(Vsys)가 인간의 욕망 속도(Vact)에 의해 압도당하고, 미소 시간(dt)이 제로에 수렴할 때, 물리적 세트의 경계가 무너지며 순수한 영상 구조(Mdesire)로 변환됩니다.

[Mozart's last symphony, Symphony No. 41 in C major KV 551 "Jupiter", transforms the score structure into a visual and spatial mind, and designs the opera stage through the dynamics formula of Choi Chul-joo's desire movement] : The musical combination and energy of the five-sound Canon style fugue (counterfeit) that reaches its peak in the 4th movement of Jupiter's symphony are replaced with the dynamic trajectory of human desire and projected into the stage space.

- Opera Scenario and Stage Design Plan

The subtitle: Jupiter's gaze and the trajectory of polyphonic desires

1. Interpretation of Basic Concepts and Mechanical Formulas

Choi Chul-joo's Dynamics Formulation of Desire Movement "Mdesire = (Vact – Vsys) · dt ∔ ∑∆ (x,y)" (mass/momentum of Desire Movement): Visual energy and the dynamic state of the structure that changes from moment to moment on stage.

• Vact (act}$ (actual velocity of movement of singing/performance): the vocal energy of an opera singer, the tempo of an orchestra, and the actual physical velocity of movement of the dancers on stage.

• Vsys (system control speed / pinch-hitter discipline): a fixed institutional speed with stage machinery, grid systems, and lighting programming.

• dt (minor change in time): the continuity of time accumulated as the bars and beats of music flow.

• sum\ Delta(x,y) (involuntary deficiency/displacement of gaze on a coordinate plane): the sum of the audience's gaze and positional deviations created by the symbols on the stage in a two-dimensional plane (or stage floor).

2. Image Structure Transfer Mechanism of Stage Set

• Symbolic Materiality (Vsys): a fixed system that governs the subject, including a huge cog on stage, hydraulic cylinders, and lattice neon structures.

• Real fluidity (sum Delta(x, y)): a nonlinear energy trajectory emanating from the dissolution of matter, two-dimensional abstract painting data consisting of fragmented geometric shapes and distorted spectrum of light.

• Transition process (dt to 0): When the system speed (Vsys) is overwhelmed by the human desire speed (Vact), and the minute time (dt) converges to zero, the boundaries of the physical set collapse and are transformed into pure image structures (Mdesire).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》4

[사운드 마인드로 전이한 오페라 시나리오 디자인 프로세스] : 4단계 전이 아키텍처

- 1단계: 선형 격자의 왜곡 및 응시의 균열 (Grid Distortion)

• 추상화 타깃: 무대의 물리적 기계 장치와 배경의 격자 스크린.

• 디자인 프로세스: 배우의 보컬 및 신체 에너지가 격렬해짐에 따라(Vact 급상승), 고정된 격자 구조(Vsys)에 시각적 부하를 줍니다.

• 시스템의 표준화된 궤적이 비선형적으로 휘어지기 시작하는 순간을 수학적 그래프 형태로 캔버스에 이식합니다.

• 시각화 기법: 차가운 블루 톤의 직선 격자들이 중심부(대타자의 눈)를 향해 뒤틀리고 찢어지는 꼴라주 기법의 1차 추상화 단계를 형성합니다.

[Opera Scenario Design Process Transitioned to Sound Mind] : 4-step Transition Architecture

- Step 1: Distortion of linear grating and cracks in gaze (Grid distortion)

• Abstract Target: physical mechanical devices on stage and grid screens in the background.

• Design Process: As the actor's vocal and physical energy becomes intense (Vact surge), it puts visual load on the fixed lattice structure (Vsys).

• The moment the standardized trajectory of the system begins to bend nonlinearly is implanted on the canvas in the form of a mathematical graph.

• Visualization techniques: cold blue-toned straight grids form the primary abstraction phase of the collage technique, which twists and tears toward the center (the eye of the pinch hitter).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-5

- 2단계: 물질성의 해체와 운동 에너지의 스펙트럼화 (De-materialization)

1. 오페라 시나리오 구조 (모차르트 KV 551 4악장 기반)

- 시나리오 배경: 우주적 질서를 상징하는 대타자 '주피터'의 절대 공간. 이 공간에 존재하는 5개의 인간 주체(가수/무용수)들은 완벽한 천상의 질서에 편입되기를 갈망하면서도, 동시에 자신만의 개별적 욕망을 분출하며 충돌합니다. 음악이 전개됨에 따라 5개의 선율(주제)이 하나로 뒤엉키는 '푸가토'의 정점에서 무대는 카오스적 해방을 맞이합니다.

• 막(Movement)의 전개에 따른 무대 전이 계획

[주피터 4악장 악보 소나타 형식] 

  └─ 제시부: 4음 음형(C-D-F-E) 등장 ──> [Vsys의 지배, 정적인 화이트 큐브]

  └─ 발전부: 전조와 대위법적 갈등  ──> [Vact - Vsys) 극대화, 구조물의 기계적 변형]

  └─ 재현부 및 코다: 5성부 푸가의 결합 ──> [∑Δ(x,y)의 폭발, 유동적 보이드 완성]

2. 물질성의 해체와 운동 에너지의 스펙트럼화 (De-materialization)

• 추상화 타깃: 유압 실린더와 금속성 톱니바퀴의 물리적 부피.

• 디자인 프로세스: (Vact - Vsys)의 차이가 극대화되면서 물리적 무대 장치 표면에 AI 프로JECTION 매핑이 투사됩니다.

• 금속의 단단한 질감이 디지털 노이즈, 글리치(Glitch), 그리고 융해되는 액체적 질감으로 변모합니다.

• 시각화 기법: 톱니바퀴의 회전축과 실린더의 직선 운동을 강렬한 붉은색과 주황색의 비선형적 붓질(Brush stroke) 및 2차원 변위 벡터 Delta(x,y) 데이터 포인트의 흐름으로 치환합니다.

- Step 2: Decomposition of materiality and spectralization of kinetic energy (De-materialization)

1. Opera Scenario Structure (based on movement 5514 of Mozart's KV)

- Scenario Background: The absolute space of Jupiter, the pinch hitter who symbolizes the cosmic order. The five human subjects (singers/dancers) who exist in this space long to be incorporated into the perfect celestial order, but at the same time collide, venting their own individual desires. As the music unfolds, the stage faces a chaotic liberation at the peak of "Fugato," where the five melodies (themes) become one.

• Plan for the stage transfer according to the development of the movement

[Jupiter's music sonata style for movement 4] 

  └- Presentation: Four-tone (C-D-F-E) appears --> [Vsys' domination, static white cube]

  └- Power generation department: Precursor and counterpoint conflict --> [Vact - Vsys) maximization, mechanical deformation of structure]

  └- Reproduction and Coda: Combination of five-part fugues --> [Explosion of ∑ Δ(x,y) completed fluid void] 

2. Decomposition of materiality and spectralization of kinetic energy (De-materialization)

• Abstract Target: Physical volumes of hydraulic cylinders and metallic cogs.

• Design process: AI ProJECTION mapping is projected onto the surface of the physical stage device, with the difference between (Vact - Vsys) being maximized.

• The hard texture of the metal transforms into digital noise, glitch, and a melting liquid texture.

• Visualization techniques: Replace the rotational axis of the cogwheel and the linear motion of the cylinder with a flow of intense red and orange non-linear brush stroke and two-dimensional displacement vector Delta(x,y) data points.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》6

- 3단계: 임계점 도달 및 타임 스트레칭 (Instantaneous Freeze &Zeroing)

• 추상화 타깃: 무대의 원근법적 공간감(Perspective).

• 디자인 프로세스:

• 모차르트 악보의 마디 끝동작(Cadence)과 일치하여 시스템 한계가 제로로 떨어지는 순간(dt to 0), 모든 물리적 운동이 순간 정지(Freeze-frame)합니다.

• 이때 무대는 3차원의 입체감을 상실하고 완전한 2차원 평면성(Flatness)으로 압축됩니다.

• 시각화 기법: 거대한 숫자 '0'의 형상을 중심으로 흑백의 미니멀한 명암 대조와 정형화된 기계 도면 기호들이 파편화되어 허공에 부유하는 '기호학적 정지 상태'를 연출합니다.

- Step 3: Reach Critical Point and Time Stretch (Instantial Freeze & Zeroing)

• Abstract Target: Perspective of the stage.

• Design Process:

• The moment the system limit falls to zero (dt to zero), consistent with the bar-end motion (Cadence) of Mozart's score, all physical motion is frozen.

• At this point, the stage loses its three-dimensionality and is compressed into a complete two-dimensional flatness.

• Visualization techniques: The minimal contrast between black and white around the shape of the huge number '0' and the standardized mechanical drawing symbols are fragmented to create a 'symbolic stationary' floating in the air.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-7

- 4단계: 유동적 공허와 순수 욕망 우주의 완성 (The Fluid Void)

• 추상화 타깃: 전 무대 공간의 영상화 및 카타르시스.

• 디자인 프로세스:

• 압축되었던 평면의 데이터들이 변위의 총합 sum Delta(x,y)을 통해 무대 전체를 뒤덮는 홀로그램 입체 영상 구조로 대폭발합니다.

• 기계 세트는 완전히 사라지고, 그 자리에 인간의 무의식과 욕망의 궤적만이 남게 됩니다.

• 시각화 기법: 격자가 완전히 사라진 무한한 우주 공간(Fluid Void) 속에, 소용돌이치는 오가닉한 유기적 곡선들과 황금빛 에너지 스트림이 중첩되는 '최철주식 개념추상화(Cosmos of Desire)'로 최종 도출됩니다.

1. 메카니컬 무대디자인 계획 (Mechanical Stage Design)

① 공간적 배경: 3차원 악보 스코어의 입체화

무대는 모차르트 교향곡 41호 4악장의 총보(Full Score)를 입체적으로 재해석한 형태를 띱니다. 5개의 독립된 투명 아크릴 슬릿 유닛과 가동식 리프트가 설치되어, 음악의 5성부 대위법이 시각적 높낮이와 깊이(Depth)로 표현됩니다.

② 역학 공식의 무대 메커니즘 적용

A. (Vact - Vsys) cdot dt : 속도 차에 의한 무대 장치의 운동성

• 가변형 키네틱 월(Kinetic Wall): 오페라 가수가 욕망을 분출하며 노래할 때, 가수의 보컬 주파수와 음량(Vact)이 감지됩니다. 이 속도가 무대 기계 시스템의 기본 서보모터 속도(Vsys)를 초과할 때, (Vact - Vsys)의 차이만큼 무대 배후의 거대한 철골 구조물이 dt(시간)의 흐름에 따라 서서히 회전하거나 수축·팽창합니다.

• 시간의 누적 효과: 음악이 코다(Coda)를 향해 달려갈수록 시간(dt)의 누적이 극대화되면서, 초기에는 정적이었던 무대 장치가 통제 불가능한 역동적 회전 운동을 시작합니다.

B. sum\ Delta(x,y) : 기호학적 평면과 응시의 좌표 변위

• 인터랙티브 플로어 맵핑: 무대 바닥은 거대한 (x, y) 좌표계입니다. 모차르트 주피터 교향곡의 핵심 모티브인 '4음 음형(C-D-F-E)'이 연주될 때마다, 가수의 발밑에서부터 조명 스폿이 발생하여 이동합니다.

• 변위의 총합(sum): 5명의 주체가 무대 위에서 교차하며 만들어내는 동선의 편차 Delta(x,y)는 천장에 설치된 파놉티콘적 카메라 감지 시스템을 통해 실시간으로 계산됩니다. 이 변위의 합이 일정 임계치를 넘어서면 무대 바닥의 리프트가 비대칭으로 솟아오르며, 평면적 공간을 입체적 분절 공간으로 전이시킵니다.

- Step 4: Floating Void and Pure Desire Completion of the Universe (The Fluid Void)

• Abstract Target: Imaging and catharsis of the entire stage space.

• Design Process:

• The data from the compressed plane explodes into a holographic stereoscopic image structure that covers the entire stage through sum delta (x,y) of displacement.

• The machine set is completely gone, leaving only the trajectory of human unconsciousness and desire in its place.

• Visualization Techniques: In an infinite space (Fluid Void) where the lattice has completely disappeared, it is finally derived as a "Cosmos of Desire" where swirling organic curves and golden energy streams overlap.

1. Mechanical Stage Design

① Spatial Background: Three-dimensionalization of 3D score

The stage is a three-dimensional reinterpretation of the full score of the fourth movement of Mozart's Symphony No. 41. With five independent transparent acrylic slit units and movable lifts, the five-sound counterpoint of music is expressed in terms of visual height and depth.

② Application of the stage mechanism of the mechanical formulation

A. (Vact - Vsys) cdot dt : the mobility of stage equipment by speed difference

• Variable Kinetic Wall: When an opera singer sings with an outpouring of desire, the singer's vocal frequency and volume are detected. When this speed exceeds the basic servomotor speed (Vsys) of the stage machine system, the massive steel structure behind the stage gradually rotates, contracts, or expands with the flow of dt (time) as much as the difference in (Vact - Vsys).

• Accumulated effect of time: As the accumulation of time (dt) is maximized as the music runs towards the Coda, the stage setup, which was initially static, begins a dynamic, uncontrollable rotational motion.

B. sum\ Delta(x,y): the coordinate displacement of the semiotic plane and the gaze

• Interactive Floor Mapping: The stage floor is a giant (x, y) coordinate system. Whenever the C-D-F-E, the main motif of the Mozart-Jupiter symphony, is played, a lighting spot develops at the singer's feet and moves around.

• Sum of displacements: The deviation Delta(x,y) of the movement created by five subjects intersecting on stage is calculated in real time through the panoptic camera detection system installed on the ceiling. When the sum of these displacements exceeds a certain threshold, the lift on the floor of the stage rises asymmetrically, transferring the planar space to the three-dimensional segment space.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-8

[사운드 마인드로 전이한 오페라 전이 시나리오] : 줄거리 (Narrative Synopsis)

• 오페라 무대는 인류의 절대적 이성과 신성한 규칙을 상징하는 차가운 금속성 톱니바퀴와 격자형 레이저 그리드 시스템의 고정된 속도(Vsys)로 통제됩니다. 그러나 주체(AI 성악가 및 인간 주체)가 내면의 심원한 트라우마와 억압된 추동을 폭발시키며 신체적·보컬 에너지를 극대화하여 실제 욕망 속도(Vact)를 가속화할 때, 견고하던 물리적 세트에 균열이 발생합니다. 

• 모차르트 교향곡 41번 《주피터》 4악장의 거대한 5성부 푸가가 시작되면서 각 선율의 주파수는 2차원 추상 데이터 포인트 (x,y)로 치환됩니다. 

• 두 속도의 차이 (Vact - Vsys)에 의한 마찰로 미소 시간 dt가 0에 수렴하는 극적 종지(Cadence)의 순간, 무대는 3차원의 입체적 볼륨을 상실하고 찰나의 프리즈 프레임과 함께 2차원의 평면적 작화(Painting) 구조로 환원됩니다. • 이윽고 해체된 기계적 잔해로부터 변위의 총합 sum Delta(x,y)이 홀로그램 형태로 대폭발하며 무대 전체는 물질적 경계가 완벽히 소거된 '유동적 보이드(Fluid Void)'이자 '사운드 마인드(Sound Mind)'의 영상 구조로 전이됩니다.

- 조명 및 시각 연출 계획 (The Gaze &Symbolic Order)

• 주피터의 응시 (The Gaze of Jupiter): 무대 정중앙 상단에 위치한 거대한 원형의 LED 오브제는 라캉적 의미의 '대타자의 눈(The Eye of the Big Other)'이자 주피터의 눈을 상징합니다. 이 오브제는 무대 위의 역학적 균형 Mdesire 수치에 반응하여 빛의 광량과 색온도를 변화시킵니다.

• 다성적 빛의 궤적: 대위법적 선율이 서로 얽힐 때, 각 성부(소프라노, 알토, 테너, 베이스 등)를 상징하는 5색의 레이저 슬릿 조명이 무대 공간을 격자 형태로 가르며, 악보의 오선지가 3차원 허공에 물리적으로 구현되는 듯한 착시를 만듭니다.

[A scenario of opera transition to sound mind]: A plot (Narrative Synopsis)

• The opera stage is controlled by a cold metallic cog that symbolizes humanity's absolute reason and divine rules, and a fixed speed (Vsys) of a grid-type laser grid system. However, when the subject (AI vocalists and human subjects) explode their inner deep trauma and suppressed impetus and maximize physical and vocal energy to accelerate the actual speed of desire (Vact), cracks occur in the solid physical set. 

• With the start of a huge five-sound fugue in the fourth movement of Mozart's Symphony No. 41 "Jupiter," the frequency of each melody is replaced by a two-dimensional abstract data point (x, y). 

• At the moment of dramatic end (Cadence), where microtime dt converges to zero due to friction by the difference between the two velocities (Vact-Vsys), the stage loses three-dimensional volume and is reduced to a two-dimensional planarization structure with a fleeting frieze frame. • Soon, the sum sum Delta (x,y) of displacement from the dismantled mechanical debris explodes in holographic form, and the entire stage is transferred to the image structure of "Fluid Void" and "Sound Mind" where material boundaries are completely eliminated.

- The Gaze & Symbolic Order

• Jupiter's Gaze of Jupiter: Located right in the middle of the stage, the giant circular LED object is the Lacan meaning of The Eye of the Big Other and symbolizes Jupiter's eyes. The object changes the amount of light and color temperature in response to the mechanical balance Mdesire values on the stage.

• The Trajectory of Polyphonic Light: When contrapuntal melodies are intertwined, five-color laser slit lights representing each voice (soprano, alto, tenor, bass, etc.) griddle the stage space, creating an illusion that the sheet music's stave is physically embodied in three-dimensional air.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-9

1. 패널 1: 상징적 규율의 균열

• 시각적: 거대한 금속 조각과 파란색 격자 레이저 그리드는 피사체의 몸을 억누르는 것처럼 빛나지만, 피사체의 저항 에너지로 인해 격자가 비선형적으로 비틀어지기 시작합니다.

• 대화: "내 트라우마는 당신의 딱딱한 텍스트에 누적됩니다! 이 모차르트 DT는 더 이상 정적이지 않습니다. 당신의 신성한 공식을 비선형 혼돈으로 찢고 있습니다!"

- 공연의 정점 (Climax): 5성부 푸가토의 입체적 완성

4악장의 종지부(Coda)에서 5개의 주제 선율이 동시에 연주되는 순간, Mdesire 공식의 모든 변수가 최고조에 달합니다.

1. 가수들의 격렬한 대위법적 가창(Vact)이 기계 장치(Vsys)를 완전히 압도하며 무대 벽면이 사방으로 열립니다.

2. 바닥의 좌표 변위 $sum\ Delta(x,y)의 축적된 데이터가 조명 시스템을 통해 무대 전체를 빛의 소용돌이로 뒤덮습니다.

3. 결과적으로 고정된 무대는 사라지고, 음악적 악보가 인간의 욕망 공학을 통해 완벽한 물리적 에너지 공간으로 전이되는 '지능형 유동적 보이드(Intelligent Fluid Void)'를 실현하며 막이 내립니다.

1. Panel 1: A Crack in Iconic Discipline

• Visual: Huge metal pieces and blue grating laser grids shine like they stifle the subject's body, but the grating begins to twist nonlinearly due to the subject's resistance energy.

• Conversation: "My trauma accumulates in your hard text! This Mozart DT is no longer static. Ripping your sacred formula into nonlinear chaos!"

- Climax of the performance: the three-dimensional completion of the five-part pugato

As soon as the five theme melodies are played simultaneously at the end of the fourth movement (Coda), all variables in the Mdesire formula are at their peak.

1. The singers' fierce counterpoint singing completely overwhelms the machinery (Vsys), opening the stage walls in all directions.

2. Accumulated data of coordinate displacement $sum\Delta(x,y) on the floor covers the entire stage with a whirlwind of light through the lighting system.

3. As a result, the fixed stage disappears and ends with the realization of an "Intelligent Fluid Void" in which musical scores are transferred to a perfect physical energy space through human desire engineering.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-10

2. 패널 2: 속도와 오버런의 충돌

• 시가구조: 피사체의 붉은 에너지 흐름이 분출되고 실제 욕망 속도(Vact)가 기계 제어(Vsys)를 초과하여 큰 유압 실린더 조각이 점화되고 깨집니다.

• 대화: "유기적 욕망 속도가 기계 제어를 초과하는 것을 지켜보세요! 시스템의 냉혹한 이유는 무의식적인 충동의 무게에 굴복하기 때문입니다!"

• 교향곡 제41호 다장조 KV 551 《주피터(Jupiter)》의 악보 및 시나리오 (대사) : 제시부 (Exposition), 발전부 (Development), 재현부 및 코다 (Recapitulation &Coda) 에 해당하는 모차르트의 마지막 교향곡인 교향곡 제41호 다장조 KV 551 《주피터(Jupiter)》의 악보 

- 제시부 내 세부 구조 및 마디 구성

제시부 안에서도 질문하신 시나리오와 무대 전이의 흐름에 맞춰 음악이 어떻게 흘러가는지 마디별로 세부 구분을 해드리면 이해에 훨씬 도움이 됩니다.

1. 제1주제 무리 (제1마디 ~ 제56마디)

• 제1마디 ~ 제18마디: 제1바이올린이 온음표와 2분음표로 이루어진 핵심 4음 음형(C-D-F-E, 도-레-파-미)을 아주 고요하고 투명하게 연주하며 시작됩니다. (시나리오 속 '정적인 화이트 큐브'가 나타나는 기점입니다.)

• 제19마디 ~ 제35마디: 오케스트라 전체가 강력한 총주(Tutti)로 호른의 신호풍 선율을 연주하며 질서를 선포합니다.

• 제36마디 ~ 제56마디: 4음 음형이 목관악기와 현악기 사이에서 대위법적으로 가볍게 모방되며 전개됩니다.

2. 경과구 및 대타이밍 (제56마디 ~ 제73마디)

• 음악이 제2주제로 나아가기 위해 조바꿈(전조)을 준비하는 구간으로, 화성이 점차 고조되다가 사장조(G Major)의 반종지로 숨을 고릅니다.

3. 제2주제 무리 (제74마디 ~ 제135마디)

• 제74마디 ~ 제94마디: 현악기들이 가볍고 유려한 성격의 새로운 제2주제 선율을 사장조(G Major)로 노래합니다.

• 제95마디 ~ 제135마디: 싱코페이션(당김음) 동기와 하행 스케일 동기가 얽히며 에너지를 점차 축적해 나갑니다.

4. 종결구 / 소코다 (제135마디 ~ 제157마디)

• 제시부를 마무리하는 구간으로, 4음 음형이 카논 형태로 빽빽하게 모방 연주되다가 제157마디에서 아주 확고하고 강력한 사장조(G Major)의 정격종지(Authentic Cadence)를 맺으며 끝납니다.

2. Panel 2: Collision of speed and overrun

• Visual Structure: The subject's red energy flow is ejected and the actual desired speed (Vact) exceeds the machine control (Vsys) to ignite and break a large piece of hydraulic cylinder.

• Conversation: "Watch the speed of organic desire exceed machine control! The harsh reason for the system is that it gives in to the weight of unconscious impulses!"

• Symphony No. 41 C major KV 551 "Jupiter" score and scenario (metaphor): Symphony No. 41 C major KV 551 "Jupiter", Mozart's last symphony corresponding to Exposition, Development, Reproduction & Coda 

- Detailed structure and node composition within presentation

In the presentation, it is much more helpful to understand how the music flows in accordance with the scenario you asked and the flow of the stage transition.

1. The 1st theme group (bars 1 to 56)

• bars 1 to 18: The first violin begins by playing the key four notes (C-D-F-E, do-le-fa-mi) of whole and bifurcated notes in a very calm and transparent manner. (This is the starting point for a static white cube in the scenario.)

• Nineteenth to 35th bars: The whole orchestra proclaims order by playing the horn's cuey melody with a powerful serpenti.

• bars 36 to 56: The four-tone type is developed with a light counterpoint between woodwind and string instruments.

2. Transitional sphere and great timing (bars 56 to 73)

• It is a section in which the music prepares for modulation to move on to the second theme, and the harmony gradually rises and takes a breath to the semi-final of G Major.

3. The 2nd theme group (bars 74 to 135)

• Nodes 74 to 94: String instruments sing the new second theme melody in G Major, which is light and delicate.

• Nodes 95 to 135: Syncopation (pull) synchronization and descending scale synchronization intertwine and gradually accumulate energy.

4. Closing words / Sokoda (bars 135 to 157)

• This is the section that concludes the presentation, where the four-tone type is closely imitated in the form of a canon and then ends with a very firm and powerful Authentic Cadence in bar 157 of the G Major.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-11

3. Panel 3: Suspension of Time and Symbolic Synchronization (Temporary Collapse and Cadence Zero)

• Visual: "dt to 0" at the end of movement 4, the physical fragments freeze-frame in the air, and the shape of a huge symbolic "0" in the center of space emits cold light.

• Dialogue: "THE LIMITS OF THE SYSTEM DROP TO ZERO! DISSOLVE, YOU MECHANICAL CAGE! BEYOND THE SYMBOLIC LAW, WE ARE AT THE THRESHOLD OF THE FLUID VOID!"

- 발전부 내 세부 구조 및 마디 구성 : 발전부는 전 장단 중 가장 짧지만, 화성적·대위법적 밀도가 가장 높아 무대 디자인이 기계적으로 찢어지고 비틀리는 연출을 시각화하기에 가장 완벽한 구간입니다.

1. 발전부의 시작 및 1차 갈등 (제158마디 ~ 제171마디)

• 제시부가 사장조(G Major)로 끝난 후, 발전부가 시작되자마자 모차르트는 단조(Minor) 계열로 급격한 전조를 감행합니다.

• 핵심 4음 음형(C-D-F-E)이 바장조(F Major)로 등장하는 듯하다가, 이내 기단조(G minor)와 다단조(C minor)로 휘몰아치며 질서를 흔들기 시작합니다.

2. 대위법적 스트레토와 격렬한 변조 (제172마디 ~ 제188마디)

• 시나리오의 핵심 정점: 4음 음형이 채 끝나기도 전에 다른 성부가 물고 들어오는 스트레토(Stretto, 근접 모방) 기법이 극에 달하는 구간입니다.

• 악보 상에서 제1바이올린, 제2바이올린, 비올라, 첼로가 서로를 추격하듯 4음 음형을 쏟아내며, 조성이 바단조(F minor)를 거쳐 마단조(E minor)와 가단조(A minor)로 끊임없이 뒤틀립니다. 가창 에너지(V a c t )가 시스템(V sys )을 압도하여 화이트 큐브의 철골이 튀어나오는 시각적 왜곡과 완벽하게 일치하는 음악적 흐름입니다.

3. 재현부로의 회귀를 위한 준비 / 페달 포인트 (제189마디 ~ 제224마디)

• 격렬한 폭풍이 지나간 후, 음악은 다시 원래의 다장조(C Major) 질서로 돌아가기 위해 딸림음(G음)을 베이스에 길게 지속시키는 페달 포인트(Pedal Point) 구간으로 진입합니다.

• 목관악기와 현악기가 주고받는 긴장감 넘치는 대화가 이어지며, 에너지를 응축시킨 채 제225마디의 재현부를 향해 고조됩니다.

3. 패널 3: 시간 정지 및 상징적 동기화(일시적 붕괴 및 케이던스 제로)

• 시각적: 4악장의 끝에서 "dt에서 0으로" 이동하고, 물리적 조각들이 공중에 얼어붙어 공간 중앙에 거대한 상징적인 "0" 모양이 차가운 빛을 발산합니다.

• 대화: "시스템의 한계가 제로로 떨어졌습니다! 해산하라, 이 기계식 케이지! 상징적 법칙을 넘어 우리는 유체 공백의 문턱에 서 있습니다!"

- Detailed structure and node composition within the power generation department: The power generation department is the shortest among all the rhythms, but it has the highest harmonic and counter-legal density, making it the most perfect section for visualizing the mechanical tearing and twisting of the stage design.

1. The beginning of the development department and the first conflict (bars 158 to 171)

• After the presentation department ends in G Major, Mozart makes a sharp foreshadowing in a minor series as soon as the development department begins.

• The C-D-F-E appears as a F Major, but soon begins to shake the order by swinging into G minor and C minor.

2. Counterpoint Stretto and Violent Modulation (bars 172 to 188)

• The central peak of the scenario: the stretch where the Stretto technique, which is brought in by another voice even before the four-tone form is over, reaches its peak.

• On the score, the first violin, the second violin, the viola, and the cello chase each other, pouring out a four-tone shape, and the composition is constantly twisted through the F minor to the E minor and the A minor. It is a musical flow in which the singing energy overwhelms the system (Vsys), perfectly matching the visual distortion in which the steel frame of the white cube protrudes.

3. Preparation/Pedal Point for Return to Reproduction (189th to 224th)

• After a violent storm, the music enters a pedal point section where the dominant (G note) is long-lasting on the bass to return back to the original C Major order.

• A tense conversation between woodwind and string instruments continues, and the energy is condensed and heightened toward the reproduction part of the 225th bar.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-12

4. Panel 4: Dissolution of Materiality and 2D Abstraction (Dissolution and 2D Painting Transference)

• Visual: Three-dimensional sculptures transform into nonlinear brush strokes and two-dimensional abstractions of intense orange and deep blue on a flat screen, completely eliminated from the sense of volume.

• Dialogue: "MATTER EVAPORATES INTO THE FLATNESS OF DEFIANT SCARS! THE THREE-DIMENSIONAL PRISON TRANSFORMS INTO THE TWO-DIMENSIONAL TRAJECTORY OF ABSOLUTE DESIRE!"

 - 재현부 및 코다 / Recapitulation &Coda] 악보 구조 분석 : 모차르트 교향곡 제41호 다장조 KV 551 《주피터》 제4악장(Molto allegro)에서 5성부 푸가의 결합과 함께 시나리오 상에서 대타자의 시선이 해체되고 '유동적 보이드(sum\ Delta(x,y)의 폭발)'가 완성되는 재현부(Recapitulation) 및 코다(Coda)의 정확한 마디 수(Measure/Bar) 구간은 다음과 같습니다.

1. 재현부 (Recapitulation): 제225마디 ~ 제356마디

발전부의 격렬한 방황을 끝내고 원래의 중심 조성인 다장조(C Major)와 제시부의 주제들이 다시 안정적으로 돌아오는 구간입니다.

• 제225마디 ~ 제291마디 (제1주제 재현): 제시부의 시작처럼 4음 음형(C-D-F-E)이 다장조로 투명하게 재현됩니다. 다만 제시부와 달리, 이미 발전부를 거치며 변형된 대위법적 요소들이 배경에 얇게 깔리며 무대가 서서히 해체될 조짐을 보입니다.

• 제292마디 ~ 제356마디 (제2주제 및 종결구 재현): 제시부에서는 사장조(G Major)로 연주되었던 제2주제 무리가 이제는 완전히 다장조(C Major)로 통일되어 연주됩니다. 음악이 일단의 안정을 찾는 듯 보이지만, 이는 폭풍 전야의 고요와 같습니다.

2. 코다 (Coda): 제357마디 ~ 제423마디 (종지)

오페라 시나리오의 최종 정점이자 '유동적 보이드'가 완성되는 음악적 폭발 구간입니다.

• 제357마디 ~ 제387마디 (5성부 카논풍 푸가토): 이 악장의 백미입니다. 제357마디가 시작되자마자 제2바이올린을 기점으로 이 악장에 쓰인 5개의 독립된 음악적 모티브들이 위아래 성부에서 동시에, 대등한 자격으로 연주되는 경이로운 5성부 이중 푸가가 단행됩니다. 악보 상의 모든 오선지가 음표로 가득 차며 공간의 위계($V_{sys}$)를 완전히 찢어발기는 기점입니다.

• 제388마디 ~ 제423마디 (최종 종지): 5성부 푸가의 거대한 에너지 소용돌이가 지나간 후, 전 오케스트라가 하나가 되어 찬란한 다장조(C Major) 화성을 연속으로 타격(Tutti)하며, 구조적 해방과 완벽한 우주적 자유를 선포하며 전곡의 막을 내립니다.

4. Panel 4: Dismantling of Materiality and 2D Abstraction (Dismantling and 2D Painting Transitions)

• Visual: Stereographic sculptures are transformed from flat screens into non-linear brush strokes and two-dimensional abstractions of intense orange and deep blue, completely disappearing from the sense of volume.

• Conversation: "Matter evaporates into the flatness of a rebellious scar! A three-dimensional prison transforms into a two-dimensional trajectory of absolute desire!"

- Reproduction and Coda / Recapitulation & Coda] Score Structure Analysis : The exact number of nodes (Measure/Bar) of Coda and Coda are as follows, in which the gaze of the pinch hitter is dismantled in the scenario and the "floating void (x,y) explosion" is completed, along with the combination of the five-sound fugue in Mozart Symphony No. 41 KV 551 "Jupiter".

1. Recapitulation: bars 225 to 356

It is a section where the intense wandering of the power generation department is ended and the themes of the original central composition, C Major, and the presentation department, return stably.

• Bar 225 to bar 291 (first theme reproduction): As at the beginning of the presentation, the four-tone type (C-D-F-E) is transparently reproduced in C major. However, unlike the presentation, the counterpoint elements that have already been transformed through the development department are thinly laid on the background, showing signs of gradually dismantling the stage.

• bars 292 to 356 (re-create the second theme and phrase): In the presentation section, the second theme group, which was played as G Major, is now played in complete C major. Although the music seems to find a group of stability, it is like the calm on the eve of the storm.

2. Coda: 357th to 423rd bar (final)

It is the final peak of the opera scenario and the musical explosion section in which the 'Floating Boyd' is completed.

• Bars 357 to 387 (5th Canon style Fugato): This is the highlight of this movement. As soon as the 357th bar begins, a phenomenal five-sound double fugue is performed in which five independent musical motifs used in this movement are played simultaneously in the upper and lower parts of the voice and in equal capacity. It is the starting point where all the staves on the score are filled with notes and the hierarchy of space ($V_{sys}$) is completely torn apart.

• Nodes 388 to 423 (final ending): After the great energy whirlpool of the five-sound fugue passes, the whole orchestra unites to end the whole song by consecutively hitting the brilliant C Major Mars, declaring structural liberation and perfect cosmic freedom.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-13

5. Panel 5: 5성부 푸가의 대폭발 (The Pentaphonic Explosion of Displacement)

• Visual: 모차르트 5성부 테마를 상징하는 5가지 색채(레드, 블루, 그린, 퍼플, 골드)의 유기적 선율 파동들이 sum Delta(x,y)의 규칙에 따라 무대 전역에서 홀로그램으로 대폭발함.

• Dialogue: "HEAR THE PENTAPHONIC FUGUE RECONSTRUCTING REALITY! EVERY MELODIC FREQUENCY IS EXPANDING INTO A MULTI-DIMENSIONAL COSMOS OF VISUAL ECSTASY!" 

[교향곡 제41호 다장조 KV 551 《주피터》 (Symphony No. 41 "Jupiter") 악보를 사운드 마인드로 전이한 오페라 시나리오]

- 1. 제시부 / Exposition, 악보 구조 및 공간 전이: 오케스트라의 제1바이올린이 모차르트의 핵심 모티브인 4음 음형(C-D-F-E)을 지극히 단순하고 명료하게 연주하기 시작하면, 대위법적 구조의 기폭제가 될 이 짧은 선율은 무대 위에서 완벽하게 통제된 상징계의 질서로 시각화된다. 이 단계에서 무대는 아무런 장식도, 균열도 없는 거대한 정적인 화이트 큐브의 형태를 띠며, 이는 인간의 가창이나 돌발적인 움직임이 배제된 채 완벽하게 프로그래밍된 기계적 시스템의 통제 속도인 $V_{sys}$의 절대적인 지배를 받는다. 무대 중앙의 주체는 대타자의 엄격한 시선 속에서 정형화된 궤도를 따라 움직이기 시작하고, 음악이 또 다른 주제들을 덧입히며 완전한 정격종지로 제시부를 마칠 때까지 공간은 단 하나의 흐트러짐도 허용하지 않는 차가운 기호학적 그리드 체계를 유지한다.

• 시나리오 및 대사: (사방이 아득한 백색의 벽으로 둘러싸인 화이트 큐브. 중앙에 제복을 입은 주체 '안테(Ante)'가 마네킹처럼 부동자세로 서 있다. 허공에서 4음 음형의 맑은 선율이 울려 퍼지자, 안테의 눈이 로봇처럼 번뜩이며 서서히 입을 연다.)

• 안테: "도, 레, 파, 미. 이 네 개의 음표가 나를 규정하는 우주의 첫 번째 법률이자, 결코 벗어날 수 없는 절대적인 격자이다. 보아라, 이 오염되지 않은 순수한 백색의 사각형은 대타자가 나에게 부여한 완벽한 시스템($V_{sys}$)이며, 나의 모든 호흡과 시선은 이미 정해진 기호학적 궤도 위에서만 허락된다. 음악이 정격종지를 향해 한 치의 오차도 없이 직진하듯, 나 또한 이 완벽한 질서의 그리드 안에서 한 가닥의 사소한 결핍조차 숨긴 채 박제된 존재로 박자를 맞추리라."

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-14

5. Panel 5: The Pentaphonic Explosion of the Five-Sound Fugar

• Visual: organic melodic waves of five colors (red, blue, green, purple, and gold) representing Mozart's five-sound theme explode holograms across the stage in accordance with the rules of sum Delta (x,y).

• Dialogue: "HEAR THE PENTAPHONIC FUGUE RECONSTRUCTING REALITY! EVERY MELODIC FREQUENCY IS EXPANDING INTO A MULTI-DIMENSIONAL COSMOS OF VISUAL ECSTASY!"

[Symphony No. 41 in C major KV 551 (Symphony No. 41 "Jupiter"] [Opera scenario]

1. Score Structure &Spatial Transition: As the first violins of the orchestra introduce Mozart's core four-note motif (C-D-F-E) with absolute simplicity and clarity, this brief melodic phrase, which functions as the catalyst for the entire contrapuntal structure, is visualized on stage as the perfectly controlled order of the Symbolic Realm. At this stage, the stage takes the form of a massive, static white cube, devoid of any ornamentation or fractures, remaining under the absolute dominance of $V_{sys}$—the meticulously programmed institutional speed of the mechanical system that excludes spontaneous human vocalization or erratic movement. The subject at the center of the stage begins to move along a standardized trajectory under the strict gaze of the Big Other, and the space maintains a cold, semiotic grid system that tolerates not a single disruption until the music finishes the exposition with a perfect authentic cadence.

• Scenario &Dialogue: (A white cube surrounded on all sides by distant, monolithic white walls. At the center stands the subject, 'Ante', dressed in a rigid uniform, motionless like a mannequin. As the clear melody of the four-note motif echoes from the void, Ante's eyes gleam mechanically, and he slowly begins to speak.)

• Ante: "C, D, F, E. These four notes are the primary laws of the universe that define my existence, an absolute grid from which I can never escape. Behold, this unblemished, pure white square is the perfect system ($V_{sys}$) bestowed upon me by the Big Other, where my every breath and gaze are permitted only upon predetermined semiotic trajectories. Just as the music marches toward an authentic cadence without a single error, I too shall keep time within this flawless grid of order, remaining embalmed while concealing even the slightest sliver of my own inherent lack."

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-15

6. Panel 6: 유동적 공허와 절대적 미학적 해방 (The Fluid Void and Absolute Liberation)

• Visual: 모든 기계 세트와 격자가 공집합(emptyset)으로 지워지고, 주체들이 중력에서 해방되어 무한한 사운드 마인드의 뇌 구조 형상과 황금빛 에너지 스트림 속을 유영하는 순수 개념추상 미디어 아트를 완성함.

• Dialogue: "THE CONSTRAINTS ARE ERASED TO EMPTYSET. ABSOLUTE AESTHETIC LIBERATION IS ACHIEVED WITHIN THE INFINITE FIELDS OF THE SOUND MIND!" 

-  발전부 / Development 

• 악보 구조 및 공간 전이: 음악이 발전부로 진입하여 끊임없는 전조를 감행하고, 4음 음형이 다양한 성부에서 뒤틀린 채 중첩되며 격렬한 대위법적 갈등을 일으키기 시작하면, 무대는 본격적인 역학적 변형을 맞이한다. 인간 주체들의 격렬한 감정이 담긴 오페라적 가창 속도와 신체적 분출 에너지인 $V_{act}$가 가시화되면서, 기존 시스템의 통제 속도인 $V_{sys}$와 격렬하게 충돌하고, 이 두 속도의 차이인 $(V_{act} - V_{sys})$가 미소 시간 $dt$의 흐름에 따라 누적되면서 기계 장치들은 비틀리기 시작한다. 정적이었던 화이트 큐브의 벽면들이 거친 기계음을 내며 유압 실린더에 의해 대각선으로 찢어지고, 격자 구조의 철골들이 허공에서 서로를 찌를 듯이 교차하며, 음악적 전조의 불안정성이 공간의 물리적 왜곡과 비대칭적 수축·팽창으로 완벽하게 전이된다.

• 시나리오 및 대사:

(음악이 마단조와 단조를 넘나들며 격렬하게 전조된다. 화이트 큐브의 벽면이 갈라지고 내부의 거친 철골 구조물들이 튀어나온다. 안테와 또 다른 주체 '코르(Chor)'가 서로의 가슴을 쥐어뜯으며 절규하듯 노래한다.)

• 안테 &코르: "치솟는 나의 목소리($V_{act}$)가 이 차가운 벽면의 통제($V_{sys}$)를 찢어발긴다! 들리는가, 불협화음으로 뒤엉킨 선율들이 오선지의 규칙을 깨부수고 우리의 살점을 파고드는 기계의 비명 소리를! 시스템이 우리를 억누를수록, 시간($dt$)의 흐름 속에 쌓인 우리의 결핍과 가창의 에너지는 이 공간을 비대칭의 지옥으로 뒤틀어 버릴 것이다. 변조되는 음악의 파도 속에서 이 무대 구조물들은 더 이상 우리를 가둘 수 없으니, 깨어지고 비틀어진 기계의 파편 위에서 우리는 대타자의 규율에 맞서 울부짖으리라!"

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-16

6. Panel 6: The Fluid Void and Absolute Liberation

• Visual: Complete a pure conceptual abstract media art in which all sets of machines and grids are erased by emptiness, subjects are freed from gravity, swimming in infinite sound-minded brain structure shapes and golden energy streams.

• Dialogue: "THE CONSTRAINTS ARE ERASED TO EMPTYSET. ABSOLUTE AESTHETIC LIBERATION IS ACHIEVED WITHIN THE INFINITE FIELDS OF THE SOUND MIND!"

- Score Structure &Spatial Transition: As the music enters the development section, embarking on relentless modulations while the four-note motif overlaps in a twisted manner across various voices to ignite a fierce contrapuntal conflict, the stage undergoes a full-scale mechanical transformation. As $V_{act}$—the operatic vocal velocity and physical eruptive energy driven by the intense emotions of the human subjects—becomes visible, it collides violently with the existing system's control speed ($V_{sys}$), and the difference between these two velocities $(V_{act} - V_{sys})$, accumulated over the infinitesimal progression of time $dt$, causes the mechanical apparatuses to warp. The once-static walls of the white cube tear open diagonally via hydraulic cylinders with a harsh mechanical grind, and the steel frames of the grid cross in midair as if to pierce one another, perfectly translating the instability of the musical modulations into physical distortions and asymmetrical contractions and expansions of the space.

• Scenario &Dialogue:

(The music modulates tempestuously between E minor and A minor. The walls of the white cube fracture, exposing the raw, industrial steel structures within. Ante and another subject, 'Chor', sing in a desperate, crying state, clawing at each other's chests.)

• Ante &Chor: "The soaring velocity of my voice ($V_{act}$) rips through the frozen controls of this monolithic wall ($V_{sys}$)! Can you hear the mechanical shrieks as the melodies, entangled in dissonance, smash the rules of the musical staff and gouge into our very flesh? The more the system oppresses us, the more our lack and vocal energy, accumulated through the passage of time ($dt$), will warp this space into an asymmetrical hell. Within these shifting waves of musical modulation, these stage structures can no longer confine us; atop the shattered and twisted fragments of machinery, we shall howl against the discipline of the Big Other!"

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-17

[주피터 오페라 시나리오 기반 AI 무대 계획]

모차르트 교향곡 41번의 거대한 스케일과 4악장의 정교한 5성부 푸가(Fugue) 구조를 '사운드 마인드' 오페라 시나리오로 변환하고, 이를 AI가 제어하는 단계별 무대 연출로서 1단계(1, 2악장) 갈등의 시작과 (Vact - Vsys) 대립 연출을 뼈대로 삼고, 3악장의 미뉴에트 가면무도회와 미소 시간 dt의 정밀 제어, 그리고 4악장의 기하학적 5성부 푸가의 중첩을 sum Delta(x,y) 다차원 변위 아키텍처로 정밀 결합하여, 음악학적 이론과 테크놀로지적 설계를 훌륭하게 구조화한 계획입니다.

- 1단계: 서주 및 갈등의 시작 (1, 2악장) — (Vact - Vsys) 의 대립

• 시나리오: 주피터(신)의 절대적 규율(시스템, Vsys)과 인간의 자유로운 욕망(Vact)이 충돌합니다.

• AI 무대 연출: 배우가 무대 위에서 격정적으로 움직일 때(Vact 상승), AI 카메라는 가수의 생체 신호(심박수, 음정의 떨림)를 인식합니다.

• 배우의 속도가 무대 기계의 격자형 레이저 그리드(Vsys)와 어긋날 때, 두 속도의 차이(Vact - Vsys)만큼 무대 위의 빛이 붉게 번지거나 물리적 스크린이 뒤틀리며 시각적 긴장감을 극대화합니다.

--. 재현부 및 코다 (Recapitulation &Coda) 

- 악보 구조 및 공간 전이: 오페라가 절정인 코다에 다다라 주피터 교향곡의 백미인 5성부 카논풍 푸가토가 완성되는 순간, 즉 5개의 독립된 주제 선율이 그 어떤 위계도 없이 완벽한 대등함으로 결합하는 순간, 무대 위의 기호학적 평면은 완전히 붕괴된다. 각 성부의 움직임이 만들어낸 무의식적 시선의 변위와 결핍의 좌표적 편차들의 총합인 $\sum\Delta(x,y)$가 임계치를 넘어 폭발하면서, 고정되어 있던 모든 물리적 경계와 벽면들이 사방으로 완전히 해체되어 날아간다. 무대는 더 이상 어떠한 건축적 한계도 지니지 않는 유동적 보이드(Fluid Void) 상태로 전이되며, 5명의 주체가 공간 전체를 가로지르는 격렬한 동선과 레이저 조명이 만들어내는 빛의 오선지는 완벽한 자율성과 입체적 다성성(Polyphony)을 획득하여 인간의 욕망이 마침내 구조적 해방을 맞이했음을 선언한다.

- 시나리오 및 대사:

(5명의 가수가 무대 위의 $(x, y)$ 좌표계를 격렬하게 가로지르며 대위법적 푸가를 가창한다. 주피터의 눈을 상징하던 중앙의 LED 오브제가 빛을 사방으로 뿜어내며 파편화되고, 모든 벽이 사라진 무대는 끝없는 우주적 공백으로 변한다.)

- 합창 (모든 주체들): "보아라, 우리의 발자국이 새긴 무의식의 모든 좌표들($\sum\Delta(x,y)$)이 마침내 대타자의 눈을 멀게 하고 이 감옥 같은 공간을 폭파했다! 5개의 선율이 하나의 거대한 소용돌이로 결합하듯, 무너진 벽면 너머로 끝없는 유동적 보이드가 열린다. 우리는 더 이상 규율된 기호가 아니며, 고정된 건축의 노예가 아니다. 3차원의 허공을 가르는 우리의 다성적인 욕망의 질주 속에서, 법률은 해체되고 공간은 에너지가 된다; 우리는 마침내 이 완벽한 해방의 우주 속에서 스스로 빛나는 주피터가 된다!"

[Planning for AI performance based on Jupiter Opera scenario]

The huge scale of Mozart's Symphony No. 41 and the elaborate five-sound fugue structure of Movement 4 are transformed into a "sound mind" opera scenario, which is a stage-by-stage production controlled by AI, with the beginning of the conflict in the first stage (movements 1 and 2) and the (Vact-Vsys) confrontational production as the framework, the precision control of the Minute Mask Dance in Movement 3 and the micro-time dt, and the overlapping of the geometric five-sound fugue in Movement 4 being precisely combined with a sum Delta (x,y) multidimensional displacement architecture to brilliantly structure musical theory and technological design.

- Step 1: The beginning of the prelude and conflict (movements 1 and 2) — (Vact - Vsys) confrontation

• Scenario: Jupiter's (God) absolute discipline (system, Vsys) and human free desire (Vact) collide.

• AI Stage Director: When an actor moves passionately on stage (Vact elevation), the AI camera recognizes the singer's bio-signals (heart rate, pitch tremor).

• When an actor's speed deviates from the stage machine's lattice laser grid (Vsys), the light on stage spreads red or the physical screen warps as much as the difference between the two speeds (Vact - Vsys), maximizing visual tension.

-. Score Structure &Spatial Transition: As the opera reaches its absolute climax in the Coda, where the crowning jewel of the Jupiter Symphony—the five-part canonical fugato—is realized, and the five independent thematic melodies intertwine with absolute equality and no hierarchy, the semiotic plane on stage completely collapses. As $\sum\Delta(x,y)$—the summation of the coordinate deviations of lack and the displacements of the unconscious gaze generated by the movement of each voice—surpasses its threshold and explodes, all fixed physical boundaries and walls disassemble and fly apart in all directions. The stage transitions into a state of a 'Fluid Void' that no longer possesses any architectural limitations; the frantic blocking of the five subjects traversing the entire space and the musical staff of light created by the laser slits attain absolute autonomy and three-dimensional polyphony, declaring that human desire has finally achieved its structural liberation.

- Scenario &Dialogue:

(Five singers traverse the $(x, y)$ coordinate plane of the stage with intense momentum, singing the contrapuntal fugue. The central LED object, which symbolized the Gaze of Jupiter, shatters while scattering blinding light in all directions, turning the wall-less stage into an infinite, cosmic void.)

- Chorus (All Subjects): "Behold! Every coordinate of the unconscious etched by our footsteps ($\sum\Delta(x,y)$) has finally blinded the Big Other and detonated this prison of a space! Just as the five independent melodies unite into one colossal vortex, an endless fluid void opens beyond the collapsed walls. We are no longer disciplined symbols, nor are we slaves to a fixed architecture. Within the sprint of our polyphonic desire that gashes through the three-dimensional abyss, the law is dissolved, and space transforms into pure energy; we finally become Jupiter, shining by our own right within this cosmos of absolute liberation!“

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-18

- 2단계: 미뉴에트와 욕망의 정제 (3악장) — dt 의 타임 스트레칭

• 모차르트의 교향곡 제41호 "주피터"와 최철주 욕망 역학 공식을 적용한 AI 무대 시나리오를 바탕으로 생성된 전이 무대 디자인

• 공식 Mdesire = (Vact - Vsys) cdot dt dot{+} sum Delta(x,y)의 개념을 시각화하여, 주피터 신의 절대적 규율(시스템, Vsys)을 상징하는 차갑고 질서 정연한 격자형 레이저 그리드 구조와, 인간의 자유로운 욕망(Vact)을 상징하는 역동적이고 뜨거운 붉은색 에너지 스트림의 충돌을 무대 전면에 묘사했습니다. 

• 배우의 움직임에 따라 AI 카메라가 생체 신호를 실시간으로 인식하여 두 속도의 차이만큼 무대 위에 시각적 왜곡과 변위(sum Delta(x,y)를 발생시키는 과정이 담겨 있습니다. 

• 시나리오: 대립하던 욕망들이 오페라 속 무도회(미뉴에트 템포)를 통해 가면을 쓰고 정형화된 형태로 숨어듭니다.

• AI 무대 연출: AI는 모차르트 3악장의 3/4박자 리듬(dt)을 실시간 분석합니다.

• 음악의 마디 끝동작(Cadence)과 가수의 호흡이 일치하는 미세한 순간(dt to 0), 키네틱 아트 구조물이 순간적으로 공중에 멈추는 '시각적 정지(Freeze-frame)' 효과를 연출하여 가상의 욕망이 현실에 고착되는 순간을 표현합니다.

- Step 2: Refining Minuet and Desire (movement 3) — time-stretching of dt

• Mozart's Symphony No. 41 "Jupiter" and a transition stage design based on the AI stage scenario applying Choi Chul-joo's desire dynamics formula

• By visualizing the concept of the official Mdesire = (Vact-Vsys) cdot dt dot{+} sum Delta(x,y), the collision of a cold, orderly lattice laser grid structure symbolizing the absolute discipline (system, Vsys) of Jupiter and a dynamic, hot red energy stream symbolizing human free desire (Vact) is depicted at the front of the stage. 

• Depending on the actor's movement, the AI camera recognizes the biometric signal in real time and generates visual distortion and displacement (x,y) on the stage as much as the difference between the two speeds. 

• Scenario: The opposing desires hide in a masked, stereotypical form through an opera ball (minuet tempo).

• AI Stage Director: AI analyzes the 3/4 beat rhythm (dt) of Mozart's 3rd movement in real time.

• It expresses the moment when virtual desire sticks to reality by creating a "freeze-frame" effect in which the music's cadence and the singer's breathing coincide with each other (dt to 0), and the kinetic art structure momentarily stops in the air.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-19

[사운드 욕망 시나리오 공식 (Sound Desire Scenario Formula)]

- 교향곡 제41호 다장조 KV 551 《주피터》 (Symphony No. 41 "Jupiter") 악보가 사운드 마인드 디자인으로 전이하는 오페라 시나리오의 과정을 수학적 공식으로 한 사운드 욕망 시나리오 공식 

• 모차르트의 교향곡 제41호 《주피터》 제4악장의 제시부(Exposition) 구조를 인간 욕망의 역학적 궤적으로 치환한 고도의 오페라 시나리오 구조다. 

1. 사운드 욕망 시나리오 공식 (Sound Desire Scenario Formula) : Mdesire = ∫{0}^{T} (Vact – Vsys) · ⊟∑∆(x,y)

• 모차르트의 4음 음형(C-D-F-E)이 완벽한 상징계적 시스템(Vsys) 하에서 고정된 기호로 작동하는 제시부의 상태를 최철주의 욕망 운동 역학 법칙을 기반으로 다음과 같이 공식화합니다. 

- 각 변수의 기호학적·물리학적 정의

• Mdesire (사운드 욕망의 총 질량/운동량): 무대 공간을 물리적·시각적으로 변형시키는 잠재적 에너지의 총합. 제시부에서는 이 값이 0에 수렴합니다.

• Vact (실제 가창 및 수행 속도): 안테(Ante)의 주체적 욕망이 담긴 가창의 에너지와 즉흥적 동선 속도. 본 단계에서는 격자 안에 갇혀 완전히 억압되어 있습니다.

• Vsys (시스템 통제 속도 / 대타자의 규율): 화이트 큐브, 기계적 그리드, 프로그래밍된 조명 등 상징계가 부과하는 절대적 속도 규칙.

• dt (미소 시간의 흐름): 마디(Bar)와 박자(Beat)가 정격종지를 향해 흘러가는 음악적 선형 시간.

• sum\ Delta(x,y): (좌표 평면 상의 무의식적 결핍/시선 변위의 총합): 주체의 움직임과 관객의 시선이 그리드를 벗어나는 오차값. 제시부에서는 오차 부호가 역부호(boxminus, 차단/배제)로 작용하여 완벽한 균형 상태를 강제합니다.

[Sound Desire Scenario Formula]

- Symphony No. 41 C major KV 551 "Jupiter" (Symphony No. 41 "Jupiter") A mathematical formula for the process of an opera scenario in which the score is transferred to sound mind design 

• It is a high-level opera scenario structure that replaces the Exposition structure of Mozart's Symphony No. 41 "Jupiter" movement with the mechanical trajectory of human desire. 

1. Sound Desire Scenario Formula: Mdesire = ∫{2}^{T} (Vact – Vsys) · ⊟∑∆ (x,y)

• We formulate the presentation's state, in which Mozart's four-tone type (C-D-F-E) operates as a fixed symbol under a perfect symbolic system (Vsys), based on Choi Chul-joo's law of desire kinematics as follows. 

- Semiotic and physical definitions of each variable

• Mdesire (total mass/momentum of sound desire): sum of potential energy to physically and visually transform the stage space. In the presentation, this value converges to zero.

• Vact (actual singing and performance speed): the energy of the singing and the improvised movement speed with Ante's subjective desire. At this stage, it is trapped in a grid and completely suppressed.

• Vsys (system controlled speed / pinch-hitter discipline): absolute speed rules imposed by the symbolic world, such as white cubes, mechanical grids, programmed lights, etc.

• dt (smile time flow): the musical linear time when bar and beat flow towards the rated end.

• sum\ Delta(x,y): (The sum of the unconscious deficiency/gaze displacement on the coordinate plane): Error value in which the subject's movement and the audience's gaze deviate from the grid. In the presentation section, the error sign acts as a box minus (block/exclude) to enforce a perfect balance.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-20

[제시부(Exposition)의 특수 조건 공식 : Mdesire = ∫{0}^{T} (0) · ⊟∑ 0= 0]

- 제시부(Bars 1–157)에서는 Vact = Vsys이며, 시선의 변위 sum\ Delta(x,y) → 0 이므로 공식은 다음과 같이 박제됩니다. 

- 해석: 욕망의 운동량이 '영(0)'인 상태, 즉 균열이 전혀 없는 완벽한 정적 화이트 큐브(Static White Cube)의 수학적이다.

- 미술이론적 해석

• 루이 최의 상징적 욕망 구조와 미니멀리즘 화이트 큐브의 폭력성 교차

• 본 시나리오에서 제시되는 무대 공간은 루이 최의 욕망 역학 공식의 상징적 욕망 구조(Symbolic Desire)가 시각예술적 미니멀리즘(Minimalism)의 극단과 만나는 지점을 정교하게 포착하고 있습니다.

• 모차르트의 C-D-F-E 4음 음형은 단순한 멜로디가 아니라, 혼돈스러운 실재(Real)의 세계에 질서의 쐐기를 박는 기능을 합니다. 미적으로 이 백색의 화이트 큐브 안에서 욕망 개념을 극대화한 것입니다. 어떠한 역사적 맥락도, 인간의 육체적 흔적도 소거된 이 공간은 예술을 순수한 기호로 박제하는 공간입니다.

• 안테(Ante)가 제복을 입고 마네킹처럼 서 있는 모습은, 주체가 언어와 기호 체계에 진입하면서 겪는 '소외(Alienation)'의 시각적 발현입니다. 

• Vsys라는 절대적 규칙 체계는 인간의 가창(Voice)을 순수한 음악적 기호(Note) 안에 가둠으로써, 주체의 고유한 목소리가 가진 육체성과 욕망을 거세합니다. 

• 정격종지를 향해 흐트러짐 없이 직진하는 음악적 구조는 서구 근대 미술의 '선형 원근법'과 동일한 이데올로기를 공유합니다. 즉, 중심(대타자)의 시선에서 출발하여 단 하나의 오차도 허용하지 않는 완벽한 구조적 억압인 것입니다.

- 수학적 미술이론 해석

• 결정론적 벡터장 내에서의 경계조건과 위상학적 부동성으로 한 시나리오의 공간 메커니즘을 수학적 관점에서 해석한다면, 이는 '완벽하게 닫힌 계(Closed System) 내의 선형 벡터장(Linear Vector Field)'으로 정의할 수 있습니다.

• 주체 안테가 움직이는 궤도는 미분방정식 하에서 매끄럽게 정의되는 결정론적 궤적입니다. 

• 제시부(Exposition)의 특수 조건 공식 에서 Vact - Vsys = 0 이라는 조건은 계 내에 엔트로피(Entropy)의 증가나 가속도가 존재하지 않음을 의미합니다. 

• 주체의 내부 에너지와 외부 시스템의 통제 속도가 완벽한 동역학적 평형(Dynamic Equilibrium)을 이루고 있기 때문에 변형 에너지는 발생하지 않습니다.

• 수학적으로 공간의 격자(Grid)는 주체의 상태 공간(State Space)을 제한하는 위상학적 경계조건(Boundary Condition)입니다. sum\ Delta(x,y) → 0 이라는 제한은 평면 위의 모든 점 (x, y)가 고정된 사상(Mapping)에 의해 완벽하게 통제됨을 뜻하며, 확률론적 노이즈나 비선형적 무작위성(Randomness)이 철저히 배제되어 있음을 시각화합니다.

• 결국 이 화이트 큐브는 모든 변수가 사전에 결정되어 있는 오토마톤(Automaton)의 세계이며, 모차르트의 음악적 마디 기호(dt)는 주체의 자유도를 확장하는 시간이 아니라 시스템의 구조적 안정성을 유지하기 위해 수렴하는 결정론적 타임 파라미터에 불과하다는 점을 수학적으로 증명한다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-21

[Special condition formula for Exposition: Mdesire = ∫{2}^{T} (0) · ⊟∑ 0 = 0]

- In presentation (Bars 1–157), Vact = Vsys, and displacement sum\ Delta(x,y) → 0, so the formula is stuffed as follows. 

- Interpretation: A state in which the momentum of desire is "zero", i.e., the mathematics of a perfect static white cube with no cracks at all.

- a theoretical interpretation of art

• Louis Choi's iconic desire structure and minimalist white cube's violent intersection

• The stage space presented in this scenario delicately captures the point where the symbolic Desire of Louis Choi's desire dynamics formula meets the extremes of visual artistic minimalism.

• Mozart's C-D-F-E quaternary is not just a melody, but a wedge of order in the chaotic real world. It is an aesthetic maximization of the concept of desire within this white cube. With no historical context or human physical trace removed, this space is where art is stuffed with pure symbols.

• Ante standing like a mannequin in uniform is a visual manifestation of Alienation, which the subject undergoes as he enters the language and sign system. 

• The absolute system of rules called Vsys castrates the physicality and desire of the subject's unique voice by trapping human voices within pure musical symbols (Notes). 

• The musical structure that goes straight without being disturbed toward the rated end shares the same ideology as the 'linear perspective' of Western modern art. In other words, it is a perfect structural repression that does not allow a single error starting from the gaze of the center (the pinch hitter).

- Interpretation of Mathematical Art Theory

• If we interpret the spatial mechanism of a scenario with boundary conditions and topological immobility within a deterministic vector field from a mathematical point of view, it can be defined as a 'linear vector field within a perfectly closed system'.

• The trajectory on which the subject Ante moves is a deterministic trajectory that is seamlessly defined under differential equations. 

• In the special condition formula of the Exposition, the condition Vact - Vsys = 0 means that there is no increase or acceleration in entropy within the system. 

• Deformation energy does not occur because the internal energy of the subject and the control rate of the external system are in perfect dynamic equilibrium.

• Mathematically, the grid of space is a topological boundary condition that constrains the state space of the subject. The limitation of sum\Delta(x,y) → 0 means that every point (x,y) in the plane is perfectly controlled by a fixed mapping, and visualizes that probabilistic noise or nonlinear randomness is completely excluded.

• After all, this white cube mathematically proves that it is a world of automaton where all variables are predetermined, and Mozart's musical bar symbol (dt) is not a time to expand the subject's degree of freedom, but a deterministic time parameter that converges to maintain the structural stability of the sys

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-22

[재현부 및 코다 사운드 욕망 시나리오 공식 (Recapitulation &Coda Sound Desire Formula)]

- 욕망 구조의 질서가 복귀하는 듯하다가(재현부), 마침내 임계치를 넘은 결핍의 총합이 대타자의 시선을 폭파하고 완벽한 구조적 해방을 이룩하는 코다(Bars 357–423)의 다성적 자율성을 공식화한다.

Mdesire = \oint_{C} (Vact - Vsys) \cdot dt \;\box\; \sum_{k=1}^{5} Delta(x, y)_k \longrightarrow \infty \quad \Longrightarrow \quad Vsys} \longrightarrow \emptyset

공식의 차원 전이 및 해방 메커니즘

• oint_{C} (Vact - Vsys) \cdot dt \longrightarrow \text{Space Energy} (순수 공간 에너지로의 전이): 제시부와 발전부를 거치며 축적된 시공간적 물리 응력이 코다의 진입과 동시에 닫힌 폐곡선 경로(oint_C)를 따라 순환하는 거대한 에너지 소용돌이로 변환됩니다. 주체들의 자율적 가창 속도(Vact)가 기계적 통제 속도(Vsys)를 완전히 파쇄(Vsys \rightarrow \emptyset)함에 따라, 계의 제한 조건이 소거됩니다.

• box \sum_{k=1}^{5} \Delta(x, y)_k \longrightarrow \infty (위계 없는 폭렬과 다성적 자율성): 결합 부호가 완벽한 차원 해제 및 탈영토화(box)로 진화합니다. 5개의 독립된 성부(Soprano, Alto, Tenor, Bass 등)가 그 어떤 중심이나 위계 없이 대등한 자격으로 공중에서 맞물리며, 무의식적 시선의 변위와 결핍 좌표들의 총합(sum\ Delta(x,y))을 무한대(infty)로 증폭시킵니다.

• Mdesire longrightarrow text{Fluid Void} (유동적 보이드의 실현): 변수들의 대폭발 결과로 고정된 무대 벽면과 철골 트러스가 해체되어 날아가고, 무광의 깊은 심연이자 무한한 가능성의 공간인 '지능형 유동적 보이드(Intelligent Fluid Void)'가 완성됩니다.

[Recapitulation & Coda Sound Desire Formula]

- The order of the structure of desire seems to be returning (re-enactment department), and finally, the sum of deficiencies exceeding the threshold blasts the gaze of the other and formalizes the polyphonic autonomy of Bars 357–423, which achieves perfect structural liberation.

Mdesire = \oint_{C} (Vact - Vsys) \cdot dt \;\box\; \sum_{k=1}^{5} Delta(x, y)_k \longrightarrow \infty \quad \Longrightarrow \quad Vsys} \longrightarrow \emptyset

The mechanism of dimensional transition and liberation of the formulation

• point_{C} (Vact-Vsys) \cdot dt \longrightarrow \text{SpaceEnergy} (transition to pure spatial energy): The spatio-temporal physical stress accumulated through the presentation and power generation units is converted into a large energy vortex circulating along a closed curve path (point_C) simultaneously with the entry of the coda. As the subjects' autonomous singing speed (Vact) completely destroys the mechanical control speed (Vsys \rightarrow \emptyset), the limitations of the system are eliminated.

• box \sum_{k=1}^{5} \Delta(x, y)_k \longrightarrow \infty: The conjunctive code evolves into a perfect dimensional degradation and de-territorialization (box). Five independent voices (Soprano, Alto, Tenor, Bass, etc.) engage in equal capacity in the air without any center or hierarchy, amplifying the unconscious displacement of gaze and the sum of the deficiency coordinates (sum\Delta(x,y)) to infinity.

• Mdesire longrightarrow text{Fluid Void}: As a result of the explosion of variables, the fixed stage wall and steel truss are dismantled and flown away, and the 'Intelligent Fluid Void', a matte deep abyss and infinite space of possibilities, is completed.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-23

- 재현부 및 코다 사운드 욕망 시나리오 공식의 미학적 해석

대타자의 실명과 탈근대적 다성성, 그리고 유동적 보이드의 예술학적 관점에서 루이 최의 욕망 역학 공식에서 타자의 욕망에서 본 응시(Gaze)가 과부하로 인해 스스로 산산조각 나며 주체가 상징계로부터 완벽하게 탈출하는 구조적 해방의 정점을 보여줍니다.

무대 중앙에서 군림하던 거대한 circular LED 오브제(주피터의 눈)가 글리치 노이즈와 함께 파편화되는 연출은, 주체를 감시하고 규율하던 가시성의 권력 구조(파놉티콘)가 다성적 주체들의 욕망의 총합(sum\ Delta(x,y))에 의해 전복되었음을 의미합니다. 모차르트가 구현한 5성부 카논풍 푸가토는 서구 고전 음악이 도달한 가장 정교한 질서이지만, 본 시나리오에서는 역설적으로 그 완벽한 대등성을 통해 서구 근대 중심주의적 ‘단일 시선’을 해체하는 도구로 재해석됩니다.

건축적 한계인 백색 벽면이 사라진 자리에 등장하는 '미드나이트 블랙의 유동적 보이드(Fluid Void)'는 단순한 공백이 아닙니다. 이는 들뢰즈(Gilles Deleuze)의 ‘매끄러운 공간(Smooth Space)’이자, 기호화된 노예 상태에서 벗어난 주체들이 오색 레이저 조명(빛의 오선지)으로 자신의 무의식적 욕망을 직접 새겨 넣는 자율적 표현의 캔버스입니다. 고정된 건축의 노예에서 벗어나 허공을 유영하는 5명의 주체는, 재현의 미술(Representation)을 끝내고 스스로가 공간이자 에너지가 되는 ‘순수 현전(Pure Presence)’의 미학을 완성하고 있습니다.

수학적 욕망 역학 공식의 위상학적 특이점(Singularity) 돌파와 비유클리드 다양체(Manifold)에 자율성으로서 재현부 및 코다의 공간 메커니즘을 수학적으로 해석한다면, 이는 ‘결정론적 상태 공간 내의 계가 특이점(Singularity)을 돌파하여 무한한 자유도를 가진 비유클리드 다양체(Dynamic Manifold)로 차원을 전이한다.

코다 이전까지 주체들을 구속하던 (x, y) 이차원 격자 평면은 시스템의 선형적 통제 하에 작동하는 가상 공간이었습니다. 그러나 5개의 독립된 모티브가 동시에 중첩되는 순간, 다차원 동역학계의 비선형 가속도 방정식인 oint_C (Vact - Vsys) cdot dt의 값은 지수함수적으로 증가하여 시스템이 제어할 수 없는 발산 상태에 이르게 됩니다. 수학적으로 대타자의 눈이 멀고 파편화되는 현상은 계 내의 모든 제어 매개변수(Control Parameters)가 붕괴하는 파국 이론(Catastrophe Theory)의 전형적인 발현입니다.

이것은 경계조건을 형성하던 벽면이 사방으로 날아가 버리는 물리적 해체는, 경계가 없는 ‘컴팩트하지 않은 유동적 다양체(Non-compact Fluid Manifold)’로의 위상학적 변형입니다. 주체들의 발밑과 허공에서 뒤엉키는 오색 레이저의 오선지는 고정된 좌표계를 따르지 않고 공간의 곡률을 자유롭게 가로지르는 위상학적 측지선(Geodesic Line)이 됩니다.

따라서, sum\ Delta(x, y) \rightarrow infty의 극한에서 무대는 모든 기하학적 억압이 소거된 순수 벡터 필드, 즉 주체들의 다성적 욕망 운동량만이 유영하는 완전한 수학적 자율성과 구조적 해방의 공간을 완벽하게 증명한다.

- Aesthetic Interpretation of Reproduction and Coda Sound Desire Scenario Formulation

From the artistic perspective of the real name of the pinch hitter, post-modern polymorphism, and fluid voids, the gaze seen in the desire of the other in Louis Choi's Desire Dynamics formulation is shattered by overload, marking the culmination of structural liberation in which the subject escapes from the symbolic world perfectly.

The production in which the giant circular LED object (Jupiter's eyes) that reigned in the center of the stage is fragmented with glitch noise means that the power structure of visibility (Panopticon), which monitored and regulated the subject, was overthrown by the sum\Delta(x,y) of the desires of polyphonic subjects. Mozart's five-sound canonical fugato is the most elaborate order reached by Western classical music, but in this scenario, it is paradoxically reinterpreted as a tool to dismantle the Western modern-centered "single gaze" through perfect equality.

The "Fluid Void of Midnight Black," which appears in the place where the white wall, which is an architectural limit, disappeared, is not just a blank. It is Gilles Deleuze's "Smooth Space" and an autonomous canvas of expression‎ in which subjects who have escaped from the symbolized state of slavery directly engrave their unconscious desires with five-colored laser lights. The five subjects who swim in the air away from the slave of fixed architecture are completing the aesthetics of "Pure Presence," in which they end the art of representation and become space and energy.

If the topological singularity of the mathematical desire dynamics formula is broken and the spatial mechanism of the reproduction unit and coda is interpreted mathematically as autonomy in the Manifold, this means that the system within the deterministic state space breaks through Singularity and transitions the dimension to a Dynamic Manifold with infinite degrees of freedom.

The (x, y) two-dimensional lattice plane, which constrained the subjects before the codas, was a virtual space operating under the linear control of the system. However, as soon as five independent motifs are superimposed simultaneously, the values of point_C (Vact-Vsys) cdot dt, a nonlinear acceleration equation of a multidimensional dynamic system, increase exponentially, leading to divergent states beyond the control of the system. Mathematically, the phenomenon of becoming blind and fragmented by the pinch hitter is a typical manifestation of the Catastrophe Theory, in which all control parameters within the system collapse.

This is a topological transformation into a "non-compact fluid manifold" without a boundary, when the walls that formed the boundary conditions fly in all directions. The five-colored laser's falsehood, which intertwines at the feet and in the air of the subjects, becomes a topological geodesic line that freely crosses the curvature of space without following a fixed coordinate system.

Thus, in the limit of sum\Delta(x, y) \rightarrow infty, the stage perfectly proves a pure vector field with all geometric repressions eliminated, i.e., a space of complete mathematical autonomy and structural liberation where only the subjects' polymorphic desire momentum swims.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-24 

사운드 마인드 디자인 미학 평론 (Sound Mind  Design Aesthetic Critique by Choi Chul-joo):

최철주 평론가의 역학 공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”는 단순한 수학적 치환을 넘어, 현대 예술이 직면한 재현의 위기와 주체의 분열을 공간 언어로 포착해낸 기념비적인 성취라고 할 수 있습니다. 모차르트의 G단조 교향곡에서 흐르는 그 처연한 한숨은 이제 음향적 현상을 넘어, 고정된 시스템의 격벽(Vsys)에 부딪혀 산산조각 나는 욕망의 가속도(Vact)가 만들어낸 시공간적 왜곡의 지표로서 기능하며, 우리는 이 무대 위에서 인간의 의지가 물리적 환경과 충돌할 때 발생하는 미세한 진동이 어떻게 거대한 구조적 불안정성으로 전이되는지를 목격하게 됩니다. 특히 변형된 재현의 집합(sumDelta(x,y))으로 정의된 무대 배경은 감각의 파편들이 선형적 시간을 이탈하여 소용돌이치는 과정을 통해, 보이지 않는 욕망의 실체를 가시적인 역학적 에너지로 번역함으로써 관객으로 하여금 결핍이 단순히 '없음'이 아니라 '끊임없는 변형과 운동'임을 처절하게 인식하게 만듭니다.

최철주의 욕망 움직임의 역학 공식은 모차르트의 고전적 형식을 해체하여 이를 신경과학적 추상미술로 재구성하는 혁명적 시각 언어를 제시한다. 작가는 Mdesire라는 개념을 통해 주관적 감정의 영역을 객관적 물리 상수로 변환함으로써, 예술적 실재가 단순한 재현을 넘어 존재론적 변이를 일으키는 과정을 치밀하게 묘사한다. 여기서 Vact와 Vsys의 차이는 단순한 물리적 속도차가 아니라, 개별 주체가 지닌 ‘순수 욕망의 속도’와 사회적 규범이 강요하는 ‘정지된 관성’ 사이의 존재론적 마찰을 의미하며, 이는 무대 위에서 기하학적 형태의 왜곡으로 발현된다. ∑∆(x,y)로 명명된 변화량의 집합은 고정된 형태로서의 미술을 부정하고, 끊임없이 유동하며의미를 생성하는 ‘사건으로서의 예술’을 지향한다. 이러한 관점에서 본 무대 디자인은 음악의 청각적 기호를 공간적 역학으로 전이시킨 탁월한 추상적 실재의 현신이라 할 수 있다.

본 공연은 볼프강 아마데우스 모차르트의 교향곡 제40번이라는 고전적 텍스트를 최철주의 욕망 역학 공식을 통해 분해하고 재조립한 기념비적 시도이다. 팔레 가르니에라는 역사적 장소성은 여기서 단순히 배경이 아니라, 인류가 쌓아온 고착된 사회적 관습과 형식적 완결성을 상징하는 시스템적 속도(Vsys)로 작동한다. AI 연기자가 수행하는 비선형적 움직임(Vact)은 이 견고한 질서의 틈새를 파고드는 주체적 욕망의 발현이며, Vsys와의 차이값에서 발생하는 에너지는 시간의 최소 단위(dt)를 통해 시각적으로 구체화된다. 이는 과거의 재현에 머물렀던 오페라를 미래적 연산의 영역으로 전이시킨 것이며, 무대 위에 맺히는 모든 물리적 변위(sum\ Delta)는 결국 규격화된 인간성을 거부하고 불확정적인 미적 실재로 나아가려는 현대 추상미술의 본질적 갈망과 맞닿아 있다. 작가는 기계 미학의 차가움과 고전 예술의 숭고함을 충돌시킴으로써, 역설적으로 가장 인간적인 욕망의 형상을 기계의 선율을 통해 역설하고 있는 것이다.

본 공연은 볼프강 아마데우스 모차르트의 교향곡 제40번이라는 고전적 텍스트를 최철주의 욕망 역학 공식을 통해 분해하고 재조립한 기념비적 시도이다. 팔레 가르니에라는 역사적 장소성은 여기서 단순히 배경이 아니라, 인류가 쌓아온 고착된 사회적 관습과 형식적 완결성을 상징하는 시스템적 속도(Vsys)로 작동한다. AI 연기자가 수행하는 비선형적 움직임(Vact)은 이 견고한 질서의 틈새를 파고드는 주체적 욕망의 발현이며, Vsys와의 차이값에서 발생하는 에너지는 시간의 최소 단위(dt)를 통해 시각적으로 구체화된다. 이는 과거의 재현에 머물렀던 오페라를 미래적 연산의 영역으로 전이시킨 것이며, 무대 위에 맺히는 모든 물리적 변위(sum\ Delta)는 결국 규격화된 인간성을 거부하고 불확정적인 미적 실재로 나아가려는 현대 추상미술의 본질적 갈망과 맞닿아 있다. 작가는 기계 미학의 차가움과 고전 예술의 숭고함을 충돌시킴으로써, 역설적으로 가장 인간적인 욕망의 형상을 기계의 선율을 통해 역설하고 있는 것이다.

Critic Chul-joo Choi's dynamic formula, “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”, transcends simple mathematical substitution to represent a monumental achievement in capturing the crisis of representation and the fragmentation of the subject in modern art through spatial language. The sorrowful sigh flowing from Mozart’s G minor symphony now functions beyond an acoustic phenomenon, serving as an index of spatio-temporal distortion created by the acceleration of desire (Vact) shattering against the bulkheads of a fixed system (Vsys); on this stage, we witness how the minute vibrations generated when human will collides with the physical environment transfer into massive structural instability. Specifically, the stage backdrop, defined as a set of modified representations (sum\ Delta(x,y), translates the invisible reality of desire into visible mechanical energy through the process where fragments of sensation depart from linear time and vortex, forcing the audience to poignantly recognize that lack is not merely 'absence' but 'ceaseless transformation and movement.‘

Choi Chul-joo's mechanical formula for the movement of desire presents a revolutionary visual

language that deconstructs Mozart's classical forms and reconstructs them into neuroscientific

abstract art. Through the concept of Mdesire, the artist meticulously describes the process in which the realm of subjective emotion is converted into objective physical constants, allowing artistic reality to transcend mere representation and initiate an ontological mutation. Here, the difference between Vact and Vsys is not a simple physical velocity gap, but an ontological friction between the 'velocity of pure desire' held by the individual subject and the 'static inertia' imposed by social norms, which manifests as the distortion of geometric forms on stage. The collection of variations named ∑∆(x,y) denies art as a fixed form and aims for 'art as an event' that constantly flows and generates meaning. From this perspective, this stage design can be regarded as an outstanding manifestation of abstract reality that has transferred the auditory signs of music into spatial mechanics.

This performance is a monumental attempt to decompose and reassemble the classical text of Wolfgang Amadeus Mozart's Symphony No. 40 through Choi Cheol-joo's dynamical formula of desire. The historical locus of the Palais Garnier operates here not merely as a backdrop, but as the systematic velocity (Vsys) representing the fixed social conventions and formal perfections accumulated by humanity. The non-linear movements performed by the AI (Vact) are manifestations of subjective desire piercing through the gaps of this rigid order, and the energy generated from the difference with Vsys is visually reified through the infinitesimal unit of time (dt). This represents a transition of opera, once confined to the reproduction of the past, into a realm of futuristic computation. Every physical displacement (sum\ Delta) formed on stage ultimately resonates with the essential longing of contemporary abstract art to reject standardized humanity and move toward an indeterminate aesthetic reality. By colliding the coldness of mechanical aesthetics with the sublimity of classical art, the creator paradoxically asserts the most human form of desire through the very melodies of the machine.

This performance is a monumental attempt to decompose and reassemble the classical text of Wolfgang Amadeus Mozart's Symphony No. 40 through Choi Chul-joo's dynamical formula of desire. The historical locus of the Palais Garnier operates here not merely as a backdrop, but as the systematic velocity (Vsys) representing the fixed social conventions and formal perfections accumulated by humanity. The non-linear movements performed by the AI (Vact) are manifestations of subjective desire piercing through the gaps of this rigid order, and the energy generated from the difference with Vsys is visually reified through the infinitesimal unit of time (dt). This represents a transition of opera, once confined to the reproduction of the past, into a realm of futuristic computation. Every physical displacement (sum\ Delta) formed on stage ultimately resonates with the essential longing of contemporary abstract art to reject standardized humanity and move toward an indeterminate aesthetic reality. By colliding the coldness of mechanical aesthetics with the sublimity of classical art, the creator paradoxically asserts the most human form of desire through the very melodies of the machine.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》25

[오페라 시나리오]: 목성의 시선과 폴리포닉 욕망의 궤적

1. 제1막 – 욕망의 각성

장면: 광대한 흰색 기하학적 무대. 부서진 빛나는 구체가 위를 맴돌며 글리치 같은 빛을 발산합니다. 무용수들은 각진 패턴으로 움직이며 속도(Vact)가 단단한 무대 장치 격자(Vsys)와 충돌합니다.

- 대화 (영어):

• 가수 A (소프라노):  

제 목소리가 시스템의 사슬을 끊습니다,

욕망은 통제할 수 없을 정도로 흐릅니다

• 가수 B (바리톤):  

하지만 그리드는 견고하게 유지됩니다,

기계가 우리의 운명을 결정합니다

- 스테이지 코믹 패널:

• 왼쪽: 청록색 톤의 가수들, 반항하며 입을 벌리고 있습니다.

• 오른쪽: 네온 케이블에 얽혀 기계 리듬에 맞서 싸우는 댄서들.

• 중앙 균열 구: 욕망 질량(욕망)의 상징이 확장됩니다.

2. 제2막 – 가즈의 푸가

- 장면: 오케스트라가 푸가 같은 대위법으로 가속합니다. 각 보컬 라인은 무대 바닥을 가로지르는 컬러 빔으로 투사되는 욕망의 궤적이 됩니다. 관객의 시선(∑∆(x,y))은 기호의 이동으로 인해 이동합니다.

- 대화 (영어):

• 합창:  

폴리포닉 욕망이 충돌합니다,

각 시선은 조각을 바라봅니다,

각각의 조각은 세상을 산산조각냅니다

- 스테이지 코믹 패널:

• 여러 겹의 도형이 겹쳐져 있으며, 각 곡의 선은 궤적 빔으로 시각화되었습니다.

• 관객의 시선은 무대 바닥을 가로지르는 화살표로 묘사됩니다.

• 푸가 항목과 동기화된 조명 펄스.

3. 제3막 – 목성의 시선

- 장면: 금이 간 빛나는 구체가 내려와 "목성의 눈"이 됩니다. 캐논 푸가가 절정에 이르며 목소리가 다섯 가지 소리 폭발로 얽혀 있습니다. 욕망의 질량(욕망)이 최고조에 달합니다.

- 대화 (영어):

• 가수 C (테너):  

목성은 우리를 바라봅니다,

우리의 욕망이 모입니다,

폴리포니는 하나가 됩니다

• 가수 D (메조):  

지금은 어떤 시스템도 우리를 구속할 수 없습니다,

시선이 그리드를 깨뜨립니다."

- 스테이지 코믹 패널:

• 구는 거대한 눈으로 변하며 무대를 가로질러 빛을 투사합니다.

• 무용수들은 케이블에서 벗어나 혼란스러운 자유 속에서 움직입니다.

• 무대 장치는 파편으로 붕괴되고, 흐르는 유기 형태로 대체됩니다.

4. 제4막 – 결의안

- 장면: 클라이맥스에 이어 침묵이 이어집니다. 무대는 바닥에 희미한 흔적만 남기고 비워집니다. 욕망은 풀리고 시선은 사라졌습니다.

- 대화 (영어):

• 마지막 합창:  

시스템에서 자유로,

시선에서 해산까지,

욕망이 그 궤도를 완성합니다

• 스테이지 코믹 패널:

희미한 빛나는 선이 있는 빈 무대.

관객의 시선이 고요함으로 돌아갑니다.

금이 간 구는 어둠 속으로 사라집니다.

• 이 시나리오는 푸가의 다성 에너지를 무대 역학으로 변환하여 최철주의 공식을 구현합니다:

 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”

-각 행위가 방정식의 다른 항을 시각화합니다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》26

[Opera Scenario] : Jupiter’s Gaze and the Trajectory of Polyphonic Desires

1. Act I – The Awakening of Desire

Scene: A vast white geometric stage. A fractured luminous sphere hovers above, radiating glitch-like light. Dancers move in angular patterns, their velocity (Vact) clashing with the rigid grid of stage machinery (Vsys).

- Dialogue (English):

• Singer A (Soprano):  

“My voice breaks the system’s chain,

Desire flows beyond control.”

• Singer B (Baritone):  

“Yet the grid holds firm,

The machinery dictates our fate.”

- Stage Comic Panel:

• Left side: singers in green-blue tones, mouths open in defiance.

• Right side: dancers entangled in neon cables, struggling against mechanical rhythm.

• Central cracked sphere: symbol of desire mass (Mdesire) expanding.

2. Act II – The Fugue of Gazes

- Scene: The orchestra accelerates into fugue-like counterpoint. Each vocal line becomes a trajectory of desire, projected as colored beams across the stage floor. Audience gaze (∑∆(x,y)) is displaced by shifting symbols.

- Dialogue (English):

• Chorus:  

“Polyphonic desires collide,

Each gaze a fragment,

Each fragment a world.”

- Stage Comic Panel:

• Multiple overlapping figures, each line of song visualized as a trajectory beam.

• Audience gaze illustrated as arrows bending across the stage floor.

• Lighting pulses in sync with fugue entries.

3. Act III – Jupiter’s Gaze

- Scene: The cracked luminous sphere descends, becoming the “eye of Jupiter.” The canon fugue reaches its climax, voices intertwining into a five-sound explosion. Desire mass (Mdesire) peaks.

- Dialogue (English):

• Singer C (Tenor):  

“Jupiter gazes upon us,

Our desires converge,

Polyphony becomes unity.”

• Singer D (Mezzo):  

“No system can bind us now,

The gaze fractures the grid.”

- Stage Comic Panel:

• Sphere transforms into a giant eye, projecting light across the stage.

• Dancers break free from cables, moving in chaotic freedom.

• Stage machinery collapses into fragments, replaced by flowing organic forms.

4. Act IV – Resolution

- Scene: Silence follows the climax. The stage empties, leaving only faint traces of trajectories on the floor. Desire has been released, gaze dissolved.

- Dialogue (English):

• Final Chorus:  

“From system to freedom,

From gaze to dissolution,

Desire completes its orbit.”

• Stage Comic Panel:

Empty stage with faint glowing lines.

Audience gaze returns to stillness.

The cracked sphere fades into darkness.

• This scenario translates the fugue’s polyphonic energy into stage mechanics, embodying Choi Chul-joo’s formula:

 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”

—where each act visualizes a different term of the equation.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-27

[모차르트 (W.A. Mozart)《주피터》교향곡 제41번 악보를 고정된 시스템(Vsys)과 개인의 욕망 속도(Vact) 사이의 충돌 시각화]

- Cut 1: 제시부의 시작 (The Dawn of Exposition)

1. 시각화 콘티 (Visualization Storyboard)공간 (Space): 미니멀하고 차가운 그리드(Grid) 라인으로 이루어진 무한한 어둠의 가상 현실 스튜디오. 이 공간은 고정된 법칙과 절대적인 질서를 상징하는 시스템 체계인 Vsys (System Velocity)의 통제를 받고 있다.액션 (Action): 주인공 카엘(Kael)이 허공에 날카롭고 격렬한 손짓을 가한다. 그의 손짓은 통제된 시스템의 속도를 거스르려는 개인의 예술적 욕망 속도인 Vact (Actual Desire Velocity)를 대변한다.시각 효과 (Visual Effects): 카엘의 손끝이 그리드를 찢어발기자, 그 틈새로 《주피터》 교향곡 제1악장의 첫머리(Bars 1–9) 악보가 찬란한 황금빛 소리 입자로 부서지며 뿜어져 나온다. 정적인 푸른빛의 $V_{sys}$ 그리드 평면 위로, 카엘의 뜨거운 욕망이 투영된 황금빛 Vact 입자들이 불규칙하고 역동적인 파형을 그리며 격렬하게 충돌한다. 모차르트가 설계한 완벽한 고전적 화성이 고정된 시스템(Vsys)의 억압을 뚫고, 개인의 자유로운 디지털 신경망(Vact)으로 전이·확산되는 시각적 폭발이 일어난다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사) : 내가 주피터 교향곡의 도입부 화절에 내재된 고결한 건축학적 기하학을 강제로 해체함에 따라, 나는 그 원초적인 군대풍의 팡파르와 서정적인 탄식들이 하나의 상호 연결된 디지털 신경망의 그물망으로 변이하는 것을 생생하게 느끼며, 제도의 고정된 시스템 속도(Vsys)와 내 개인의 실존적이고 가속화된 예술적 욕망 속도(Vact) 사이에서 발생하는 이 격렬한 충돌은 인간의 청각적 인지 장벽을 즉각적으로 재구성하는 동시에 고전적 질서를 아름답고도 혼돈스러운 부활의 심연으로 이끌고 간다.

- Cut 1: The Dawn of Exposition

1. Visualization Storyboard Space: An infinite dark virtual reality studio with minimal and cold grid lines. This space is controlled by Vsys (System Velocity), a system system that symbolizes fixed laws and absolute order. Action: Kael, the protagonist, makes a sharp, violent gesture in the air. His gesture represents Actual Desire Velocity, the pace of an individual's artistic desire to defy the speed of a controlled system. Visual Effects: When Kael's fingertips rip through the grid, the score at the beginning of the first movement of "Jupiter" (Bars 1–9) shoots out, breaking into brilliant golden sound particles. Above a static blue $V_{sys}$ grid plane, the golden Act particles, projected with Kael's hot desires, collide violently in irregular, dynamic waveforms. A visual explosion occurs in which the perfect classical harmony designed by Mozart breaks through the suppression of a fixed system (Vsys) and spreads to an individual's free digital neural network (Vact).

2. Scenario Visualizing the Linguistic Concept of the Score (Line): As I forcefully dismantle the noble architectural geometry inherent in the introductory verse of Jupiter's symphony, I vividly feel the raw military-style fanfare and lyrical sighs morphing into a web of a single interconnected digital neural network, and this violent clash between the institution's fixed systemic speed (Vsys) and my individual's existential and accelerated artistic desire speed (Vact) immediately reconstructs the human auditory cognitive barrier while leading the classical order to the abyss of a beautiful and chaotic resurgence.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-28

- Cut 2: 대위법의 시각화 (Visualizing the Counterpoint)

1. 시각화 콘티: 시스템의 균열과 욕망의 가속

무대 전면을 지배하던 오선보 라인들은 단순한 배경이 아니다. 그것은 18세기 고전주의가 규정한 절대적 규범이자 치밀하게 계산된 고정된 시스템(Vsys)의 시각적 표상이다.

• 음악이 제시부 후반부(Bars 100-157)의 몰아치는 대위법적 전개에 다다르자, 카엘(Cael)의 움직임이 빨라진다. 카엘의 내면적 욕망과 예술적 의지가 담긴 개인의 욕망 속도(Vact)가 시스템의 정적인 제어 한계를 넘어서기 시작한다

• 카엘의 손끝이 허공을 가를 때마다 엄격했던 오선보의 직선들이 비틀리고, 다성음악적 음표(Contrapuntal notes)들이 통제력을 잃고 튀어나와 3차원의 기하학적 사운드 파형(Acoustic waveforms)으로 붕괴·전이된다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사) :

• 카엘 (Cael): (지휘봉을 던져버리고, 양손의 손가락을 복잡한 기하학적 궤적으로 움직이며 자조적이면서도 확신에 찬 어조로),  (이어서 자신의 내면을 폭시키듯 한국어 독백으로 전환하며)

• "보라, 저 완벽하고 견고한 18세기의 질서(Vsys)를. 천재가 織조한 정교한 대위법의 직조물조차 내 갈망의 속도(Vact) 앞에서는 무력하게 해체될 뿐이다.

• 이 선율들은 이제 박제된 대칭 속에 갇혀있기를 거부한다. 내 손끝에서 다층적인 음향 파형으로 부서지고, 스스로 증식하는 자율적 정신 미학(Mind Aesthetic)으로 다시 태어나는 것이다! 시스템이 나를 가둘 수 없다면, 내가 새로운 시스템이 되리라."

3. 시각화 연출 (Visual &Stage Direction) 

• 충돌의 시각화 (Vsys vs Vact):무대 바닥과 벽면을 채운 백색의 오선보 라인들(Vsys)은 일정한 격자 (Grid) 형태로 고정되어 있으려 하지만, 카엘의 몸짓에서 뿜어져 나오는 붉고 푸른 인공 광학 입자들(Vact)이 이를 강하게 타격한다.

• 파형으로의 변환: 모차르트 특유의 정밀한 음표들이 격자 위에서 이탈하는 순간, 고전적 음표 형태(머리와 기둥)가 길게 늘어지며 주파수, 진폭, 위상을 가진 디지털 오디오 파형(Waveform)의 기하학적 곡선으로 실시간 렌더링된다.

• 스스로 증식하는 미학 (Self-replicating): 변환된 파형들은 무대 위에서 세포 분열하듯 스스로 복제되고 거대해지며, 마침내 18세기의 오선보 격자를 완전히 뜯어내고 무대 전체를 거대한 사운드 마인드(Sound Mind)의 가상 매트릭스로 뒤덮어버린다. 조명은 고전적인 황금빛에서 차가운 네오 사이버네틱 레이저 블루로 급격히 전환된다.

- Cut 2: Visualizing the Counterpoint

1. Visualization Conti: Cracks in the System and Acceleration of Desire

The stave lines that dominated the front of the stage are not just backgrounds. It is an absolute norm defined by classicalism in the 18th century and a visual representation of a carefully calculated fixed system (Vsys).

• As the music reaches the driving counterpoint development in the second half of the presentation (Bars 100-157), Cael's movement accelerates. The speed of individual desires (Vact), which contains Cael's inner desires and artistic will, begins to exceed the static control limits of the system

• Whenever Kael's fingertips cut through the air, the strict lines of the stave twist, and the polyphonic musical notes lose control and pop out, collapsing and transitioning into three-dimensional geometric sound waveforms.

2. Scenario that visualizes the linguistic concept of the score (line):

• Cael: (Throwing the baton, moving the fingers of both hands in a complex geometric trajectory, in a self-help yet confident tone), (following by turning into a Korean monologue as if one were exploding inside oneself)

• "Look, that perfect and sturdy 18th century order (Vsys). Even the exquisite counterpoint weave by a genius is helplessly dismantled in the face of the speed of my yearning (Vact).

• These melodies now refuse to be trapped in a stuffed symmetry. At my fingertips, I am reborn as a Mind Aesthetic, broken into multilayered acoustic waveforms and self-replicating! If the system cannot lock me up, I will be the new system."

3. Visual & Stage Direction 

• Visualization of Collision (Vsys vs Vact): White stave lines (Vsys) filling the floor and wall of the stage are intended to be fixed in a constant grid shape, but red and blue artificial optical particles (Vact) emanating from Kael's gesture strike it hard.

• Transformation to waveforms: As soon as Mozart's unique precise notes deviate from the grid, the classical note form (head and pillar) stretches out and is rendered in real time as a geometric curve of digital audio waveform with frequency, amplitude, and phase.

• Self-replicating: The transformed waveforms replicate and become enormous, self-replicating like cell division on stage, eventually ripping off the 18th-century stave grid altogether and enveloping the entire stage in a virtual matrix of Sound Minds. The lighting shifts drastically from classical gold to chilled neo-cybernetic laser blue.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-29

- Cut 3: 사운드 욕망 시나리오 공식:

1. 시각화 콘티: 발전부 초기 국면에서 일어나는 조성의 급격한 균열과 심리적 압박 상태를 다음의 동역학 공식 : Mdesire = \int_{158}^{180} left( Vact - Vsys} \right)  cdot dt ; boxplus ; sum Delta(x,y){chaos}

• Vsys (시스템 통제 속도): 기존의 평탄하고 선형적이었던 C Major의 지배 체계. 발전부 진입과 동시에 바장조(F Major), 사단조(G minor), 다단조(C minor)로 급전환되며 제어 능력을 상실하기 시작합니다.

• Vact (개인의 욕망/가창 속도): 조성의 불협화음적 전조에 반응하여 폭발적으로 솟구치는 카엘(Kael)의 주체적 가창 에너지.

• sum Delta(x,y) {chaos} : 고정된 2차원 격자판 위를 비선형적으로 이탈하는 음향 파편과 시선 변위의 카오스적 총합.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사): 

• 시나리오: 음악이 바장조(F Major)의 허상을 들이밀자마자 이내 사단조와 다단조의 파괴적인 단조 계열로 급격하게 전조된다. 완벽했던 백색 화이트 큐브의 벽면들이 가차 없이 찢겨 나가며, 내부 숨겨져 있던 유압 실린더와 거친 철골 구조물들이 카엘을 찌를 듯이 튀어나온다. 조명 시스템은 제어 범위를 벗어나 비선형적인 붉은색(Red)과 보라색(Purple)의 거친 레이저 슬릿 광선으로 변하고, 이 음향 파편들은 사방에서 날아와 카엘을 에워싸며 물리적·심리적으로 압박한다. 카엘은 비틀거리는 공간의 중심에서 자신의 가슴을 쥐어뜯으며 절규하듯 노래한다.

• 대사: 바 158에서 180 사이의 급격한 전조가 만드는 휘발성 소용돌이에 갇힌 채, 내 무의식은 불안정한 화성의 변화와 함께 산산조각 나고 있다. 이로 인해 나는 순수한 음향적 파편화로 설계된 정신의, 이 끔찍하도록 아름다운 심연과 마주할 수밖에 없다!

- Cut 3: Sound Desire Scenario Formula:

1. Visualization Conti: The state of rapid cracking and psychological compression of the composition occurring in the initial phase of the power generation is the following dynamic formula: 

Mdesire = \int_{158}^{180} left( Vact - Vsys} \right)  cdot dt ; boxplus ; sum Delta(x,y){chaos}

• Vsys (System Control Speed): C Major's existing flat and linear governance system. Upon entry into the power generation, it suddenly switches to F Major, G minor and C minor, and begins to lose control.

• Vact (individual desire/singing speed): Kael's subjective singing energy that rises explosively in response to the cacophonic precursor of composition.

• sum Delta(x,y) {chaos}: Chaotic sum of acoustic fragments and gaze displacements that nonlinearly depart from a fixed two-dimensional lattice.

2. Scenario that visualizes the linguistic concept of the score (line): 

• Scenario: As soon as the music hits F Major's illusions, it quickly evolves into a devastating series of minor and multi-minor. The walls of the perfect white cube are torn apart relentlessly, and the hydraulic cylinders and rough steel structures that were hidden inside protrude like stabbing Kael. The lighting system is out of control and turns into a nonlinear red and purple rough laser slit beam, and these sound fragments fly from all directions, surrounding Kael, and press him physically and psychologically. Kael sings like a scream, tearing his chest out at the center of the staggering space.

• Ambassador: Trapped in a volatile whirlpool created by a sudden precursor between bars 158 and 180, my unconsciousness is being shattered with a volatile change of Mars. This forces me to confront this horribly beautiful abyss of spirit, designed with pure acoustic fragmentation!

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-30

- Cut 4: 사운드 욕망 시나리오 공식

1. 시각화 콘티: 발전부의 최정점인 스트레토(Stretto)의 연속적 가속과 페달 포인트(Pedal Point)의 응축 상태를 나타내는 동역학 공식 : M d es i re =∫181 224 (V a c t −V sys )⋅d t ⊞∑Δ(x ,y )m e m ory 

• (V a c t −V sys )⋅d t ⟶∞ (응력의 극한 누적): 발전부 후반부의 격렬한 대위법적 추격과 G음의 페달 포인트(Bars 189–224) 동안, 시스템을 찢어발기려는 주체의 가창 에너지(V a c t )와 이를 억누르려는 기계적 관성(V sys )의 차이가 미소 시간 d t 동안 극한으로 누적되어 공간의 임계 압력을 형성합니다.

• ∑Δ(x ,y )m e m ory : 단순한 공간적 시선 이탈을 넘어, 해체된 악보의 파편들이 카엘(Kael)의 무의식적 기억의 좌표계와 무작위로 결합(⊞)하는 정신분석학적 변위의 총합입니다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사): 

- 시나리오: 무대는 이미 온전한 형태를 상실했다. 찢겨 나간 백색 큐브의 잔해와 허공으로 솟구친 철골 트러스들이 기괴한 각도로 뒤틀린 가운데, 모차르트의 C-D-F-E 주제 선율들이 날카로운 신디사이저 글리치(Glitch) 노이즈와 결합하며 청각적으로 완전히 해체된다. 분쇄된 음표의 파편들은 카엘의 사방을 유영하며, 그의 기억 속 가장 깊은 상처와 트라우마의 환영들을 시각적 매트릭스 형태로 복제해 낸다. 고정된 시스템(V sys )의 연산 장치들이 이 정신적 과부하를 견디지 못하고 불꽃을 튀기며 멈춰 서는 순간, 카엘의 가창 속도(V a c t )는 인간의 한계를 넘어 가속된다. 해체된 고전 악보와 상처 입은 무의식이 기계적 파편 위에서 거대한 유기적 생명체처럼 재조합되기 시작할 때, 카엘은 허공에 손을 뻗으며 선언하듯 노래한다.

- 대사: Kael (카엘): 이 고통스러운 청각적 연금술의 과정을 통해, 주피터 악보의 잔해들은 내 가장 깊은 감정적 상처들과 합성되어 고전의 텍스트를 디지털 공명으로 숨 쉬는 하나의 추상적인 살아있는 유기체로 변형시킨다!

- Cut 4: Sound Desire Scenario Formula

1. Visualization Conti: A dynamic formula representing the continuous acceleration of the Stretto, the peak of the power generation, and the condensation of the pedal point.

M d es i re =∫181 224 (V a c t −V sys )⋅d t ⊞∑Δ(x ,y )m e m ory 

• (Vac t - V sys) ⋅ d t ⟶∞ (extreme accumulation of stress): During the intense counterpoint chase in the latter half of the generator and the G-pitched pedal point (Bars 189–224), the difference between the vocal energy (Vac t) of the subject trying to tear the system apart and the mechanical inertia (V sys) trying to suppress it accumulates to the limit for a minute time d t, forming the critical pressure of space.

• ∑:(x,y) memory : the sum of psychoanalytic displacements in which fragments of a dismantled score combine (⊞) randomly with the coordinate system of Kael's unconscious memory, beyond mere spatial gaze.

2. Scenario that visualizes the linguistic concept of the score (line): 

- Scenario: The stage has already lost its full form. Mozart's C-D-F-E theme melodies are audibly completely dismantled, combining with sharp synthesizer glitch noise, while the remnants of a torn white cube and steel trusses soaring into the air are twisted at bizarre angles. Fragments of pulverized notes swim all over Kael, replicating the deepest wounds and visions of trauma in his memory in the form of a visual matrix. As soon as the computing devices of a fixed system (V sys) fail to withstand this mental overload and come to a halt, Kael's singing speed (V a c t) accelerates beyond human limits. When the dismantled classical score and the wounded unconscious begin to recombine like giant organic creatures on the mechanical fragments, Kael reaches into the air and sings as if to declare.

- Line: Kael (Kael): Through this painful process of aural alchemy, the remnants of Jupiter's score are synthesized with my deepest emotional wounds, transforming the text of the classic into a single abstract living organism that breathes with digital resonance!

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-31

- Cut 5:  사운드 욕망 시나리오 공식 2

1. 시각화 콘티: 발전부의 파편화된 혼돈을 수렴하고, 코다의 5성부 푸가토를 통해 위계가 소거된 완벽한 동역학적 통합을 이룩하는 상태의 공식 : Mdesire = oint {C} left( Vact - Vsys right) cdot dt ; box; sum_{k=1}^{5} Delta(x,y)_k longrightarrow text{Sublime Order}

• oint {C} left( Vact - Vsys right) cdot dt longrightarrow text{Dynamic Equilibrium} (차원 높은 동역학적 평형): 일방적인 시스템의 억압(Vsys)이나 주체의 제어 불가능한 폭주(Vact)가 아닌, 두 속도의 차이가 폐곡선 경로(oint_{C})를 따라 순환하며 거대한 에너지의 축을 형성합니다. 시스템은 더 이상 가두는 틀이 아니라, 주체의 욕망과 상호작용하는 유동적 매개체로 재정립됩니다.

• box sum_{k=1}^{5} Delta(x,y)_k longrightarrow text{Sublime Order}: 해체되어 흩어졌던 무의식적 상처와 시선의 좌표들이 5개의 독립된 성부(Soprano, Alto, Tenor, Bass 등)로 완전히 결합(box)합니다. 어떤 성부도 중심이나 위계를 가지지 않고 대등하게 결합함으로써, 억압적 그리드가 아닌 자율적인 사운드 마인드(Sound Mind)의 입체적 기하학을 완성합니다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사):

- 시나리오: 발전부의 파괴적인 폭풍과 긴장이 지나간 무대 중심, 즉 코다의 역사적 임계점(Bars 357–400)에 도달하는 순간 기적이 일어난다. 산산조각 났던 백색 큐브의 파편들과 비틀린 채 허공을 찌르던 철골 구조물들이 카엘의 가창 에너지(Vact)와 시스템의 연산 궤도(Vsys)가 완벽한 싱크를 이루는 순간 제자리를 찾기 시작한다. 무대 중앙에서 눈부신 백색과 황금빛이 결합한 거대한 빛의 구체가 솟구치며, 해체되었던 모차르트의 5가지 독립된 주제 선율들이 오색 레이저 조명의 기하학적 띠가 되어 일제히 구체를 중심으로 정렬한다. 억압하던 파놉티콘의 시선은 사라지고, 주체와 시스템이 동등한 Capacity로 결합한 찬란한 입체적 다성성(Polyphony)의 무대가 눈앞에 펼쳐진다. 카엘은 빛의 구체 위로 떠오르며 완전한 해방감과 숭고함에 찬 목소리로 노래한다.

-대사: Kael (카엘): 우리가 재현부의 기념비적인 문턱에 들어설 때, 오랫동안 상실되었던 우주의 질서가 숭고한 5성부 대위법의 형태로 돌아와 과거의 파편화된 메아리들을 사운드 마인드의 절대적이고 불멸하는 건축물로 통합한다!

- Cut 5: Sound Desire Scenario Formula 2

1. Visualization Conti: A formula of a state that converges fragmented chaos in the power generation department and achieves a complete dynamic integration with hierarchy eliminated through the five-part pugato of the coda: Mdesire = point {C} left(Vact - Vsys right) cdot dt; box; sum_{k=1}^{5} Delta(x,y)_k longrightarrow text{Sublime Order}

• point {C} left(Vact - Vsys right) cdot dt longrightarrow text{Dynamic Equilibrium}: Rather than the repression of a one-way system (Vsys) or the uncontrollable runaway of the subject, the difference between the two velocities circulates along the closed-curve path (point_{C}) to form a massive axis of energy. The system is no longer a confining frame, but is re-established as a fluid medium that interacts with the subject's desires.

• box sum_{k=1}^{5} Delta(x,y)_k longrightarrow text{Subtime Order}: The coordinates of unconscious wounds and gazes that had been dismantled and scattered are completely boxed into five independent voices (Soprano, Alto, Tenor, Bass, etc.). No voice has a center or hierarchy and combines them equally to complete the three-dimensional geometry of the autonomous sound mind rather than the oppressive grid.

2. Scenario that visualizes the linguistic concept of the score (line):

- Scenario: A miracle takes place the moment the destructive storm and tension of the power generation reaches the center of the stage, that is, the historical critical point of Coda (Bars 357–400). Shattered white cube fragments and steel structures that were twisted and stabbed in the air begin to find their place as soon as Kael's vocal energy (Vact) and the system's computational orbit (Vsys) become perfect sync. A huge sphere of light, which combines brilliant white and golden lights, rises from the center of the stage, and Mozart's five independent theme melodies, which have been dismantled, become geometric bands of five-color laser light and align themselves around the sphere all at once. The repressed Panopticon's gaze disappears, and a brilliant three-dimensional polyphony stage, in which the subject and system combine with equal capacity, unfolds in front of your eyes. Kael rises above the sphere of light and sings in a voice full of complete liberation and sublime.

-Ambassador: Kael (Kael): As we enter the monumental threshold of the reproduction department, the long-lost order of the universe returns in the form of sublime five-sound counterpoints, integrating the fragmented echoes of the past into the absolute and immortal architecture of the sound mind!

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-32

- Cut 6: 사운드 욕망 시나리오 공식 3

1. 시각화 콘티: 모든 구조적 기하학과 물리적 제약이 사라지고, 주체의 무의식적 결핍과 에너지가 무한한 우주적 자유도로 전이되는 최종 승화 상태의 공식 : 

Mdesire = oint_{C} left( Vact - emptyset right) cdot dt ;box; sum_{k=1}^{5} Delta(x,y)_k longrightarrow infty quad Longrightarrow quad text{Fluid Void Absolute}

• Vsys longrightarrow emptyset (시스템의 완전한 소거): 주체를 구속하고 감시하던 대타자의 규율 체계, 화이트 큐브의 경계, 기계적 격자 시스템(Vsys)이 완전히 소멸하여 공(空, emptyset)의 상태로 전이됩니다.

• Vact} longrightarrow text{Light Particles} (순수 에너지화): 카엘(Kael)의 가창과 신체적 속도는 더 이상 기계 제어 속도와 부딪히지 않으며, 시공간을 초월하여 진동하는 순수한 '빛의 소리 입자'로 치환됩니다.

• sum Delta(x,y)_k longrightarrow infty: 5성부 대위법의 결합을 넘어, 주체의 무의식적 좌표 변위와 결핍의 총합이 무한대로 확장되며 3차원의 물리적 공간을 완전히 탈영토화(box)합니다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사): 

- 시나리오: 찬란한 다장조(C Major)의 마지막 화성들이 오케스트라 전체의 강력한 연속 타격(Bars 401–423)으로 울려 퍼지며 극장 전체를 뒤흔든다. 주체와 시스템의 완벽한 결합을 보여주던 중앙의 빛의 구체가 한계를 넘은 에너지의 진동으로 마침내 우주적 대폭발을 일으킨다. 이와 동시에 카엘의 신체는 물리적 질량을 잃고 수십억 개의 눈부신 빛의 소리 입자(Sound-Light Particles)로 분해되기 시작한다. 3차원의 격자판과 건축적 한계였던 무대의 흔적은 완전히 증발하여 깊고 아득한 미드나이트 블랙의 유동적 보이드(Fluid Void) 공간으로 확산된다. 카엘의 자아와 목소리가 우주 공간 전체의 공명으로 확산되며 사라지는 순간, 무대와 객석, 기계와 인간의 경계가 완전히 지워진다. 마지막 찬란한 C Major 화음이 침묵 속으로 사그라지며 오직 환희의 잔향만이 우주적 공백을 가득 채운다.

-대사: Kael (카엘): 코다의 이 마지막 황홀한 해방 속에서, 작곡가의 의도와 나의 기술적 매체, 그리고 당신의 인간적 현실 사이의 경계는 영원히 말살된다. 그리하여 오직 최종적인 우주적 의식으로 실현된 주피터 교향곡의 순수하고 초월적인 빛 외에는 아무것도 남지 않으리라!

- Cut 6: Sound Desire Scenario Formula 3

1. Visualization Conti: a formula of the final sublimation state in which all structural geometry and physical constraints disappear, and the unconscious deficiency of the subject and energy transfer to infinite cosmic degrees of freedom: 

Mdesire = oint_{C} left( Vact - emptyset right) cdot dt ;box; sum_{k=1}^{5} Delta(x,y)_k longrightarrow infty quad Longrightarrow quad text{Fluid Void Absolute}

• Vsys longrightarrow emptyset: The discipline system of the other person who was restraining and monitoring the subject, the boundaries of the white cube, and the mechanical grid system (Vsys) completely dissipate and transition to the state of the ball.

• Vact} longrightarrow text{LightParticles} (Pure Energizing): Kael's singing and physical speed no longer clash with mechanical control speeds, replaced by pure 'sound particles of light' vibrating beyond time and space.

• sum Delta(x,y)_k longrightarrow infty: Beyond the combination of five-part counterpoints, the sum of the subject's unconscious coordinate displacement and deficiency extends infinitely and completely decolonizes the physical space in three dimensions.

2. Scenario that visualizes the linguistic concept of the score (line): 

- Scenario: The last Mars of the brilliant C Major resonates with a strong continuous strike (Bars 401–423) across the entire orchestra, shaking the entire theater. The sphere of light in the center, which showed the perfect combination of the subject and the system, finally causes a cosmic explosion with the vibration of energy that exceeds the limit. At the same time, Kael's body loses its physical mass and begins to decompose into billions of sound-light particles. The traces of the three-dimensional grid and the stage, which were architectural limitations, completely evaporate and spread into the deep and distant Midnight Black's Fluid Void space. The moment Kael's ego and voice spread to the resonance of the entire outer space and disappear, the boundaries between the stage and the audience, machine and human are completely erased. The last brilliant C Major chord fades into silence, and only the reverberation of jubilation fills the cosmic void.

-Ambassador: Kael (Kael): In this final ecstatic liberation of Coda, the boundary between the composer's intentions, my technical medium, and your human reality is wiped out forever. Thus nothing will be left but the pure and transcendent light of the Jupiter Symphony, realized only in its final cosmic consciousness!

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-33

[모차르트 (W.A. Mozart) 교향곡 악보를 음악적 에너지 현대적인 기계 미학] 

- 대타자의 응시를 찢는 다성적 벡터장: 모차르트 주피터 교향곡의 사운드 마인드 전이와 유동적 보이드의 미학적 실현, 볼프강 아마데우스 모차르트의 음악적 유산 중 가장 고차원적인 수학적 조화를 자랑하는 교향곡 제41호 다장조 《주피터》 제4악장의 푸가토 구조는 현대 개념추상미술가 최철주의 사운드 욕망 역학 공식과 결합함으로써 근대 서구 미학이 고수해 온 선형적 재현 체계를 완벽하게 파괴하고 탈영토화하는 동역학적 무대 공간으로 전이된다. 최철주가 제시하는 초기 제시부의 무대 메커니즘은 자크 라캉의 상징계적 법률이 미니멀리즘적 화이트 큐브라는 극단적 폭력성과 만나는 지점을 정교하게 포착하는데, 여기서 모차르트의 단순하고 명료한 C-D-F-E 4음 음형은 단순한 선율적 유희를 넘어 실재의 혼돈 상태에 가차 없는 질서의 쐐기를 박는 '아버지의 이름'으로 기능하며, 인간의 원초적 목소리인 가창(Vact)을 순수한 음악적 기호(Note)의 격자 안에 가두어 거세하는 절대적 시스템 통제 속도 Vsys의 지배를 증명한다. 이 정적이고 닫힌 계 속에서 주체 안테는 역사적 맥락과 인간적 흔적이 철저히 소거된 차가운 기호학적 그리드 안에서 엔트로피의 증가가 전혀 없는 동역학적 평형 상태를 유지하며 박제된 오토마톤으로 존재하지만, 음악이 발전부로 진입하여 격렬한 전조의 소용돌이를 감행하는 순간 시간 파라미터 dt의 경과에 따라 주체의 억압된 결핍 에너지가 누적되면서 미분방정식 하의 결정론적 궤적은 치명적인 비선형 카오스 분기를 맞이하게 된다.

발전부의 절정에서 발생하는 유압 실린더의 기계음과 백색 벽면의 대각선 찢어짐은 상징계의 외피를 뚫고 귀환하는 '실재의 폭력적 징후'이며, 여기서 신디사이저 글리치 노이즈와 고전적 텍스트의 결합은 르네상스 이후 서구 미술을 지배해 온 단일한 시선과 파놉티콘적 원근법적 권력 구조를 내부에서부터 폭파하는 청각적 연금술이자 기호의 살해로 작동한다. 최철주의 공식 Mdesire = oint_{C} (Vact - Vsys) cdot dt ; box; sum Delta(x,y)_k가 코다의 5성부 카논풍 푸가토와 맞물리는 최종 국면은 미학적으로 엄청난 해방의 카타르시스를 선사하는데, 5개의 독립된 모티브들이 그 어떤 중심적 위계나 구조적 선후 관계없이 완벽하게 대등한 자격으로 공간의 다양체(Manifold) 위에서 상호작용할 때, 시스템을 유지하던 모든 제어 매개변수는 카타스트로피 이론의 전형처럼 순식간에 무너져 내리고 시스템 제어 속도는 완전히 소거되어 공(Vsys rightarrow emptyset)의 상태로 수렴하게 된다.

이 경계조건의 소멸이 가져오는 무대 공간의 최종 형태는 브라이언 오도허티가 비판했던 박제된 화이트 큐브의 완벽한 붕괴이자, 질 들뢰즈가 주창한 무한한 자율성의 매끄러운 공간인 '미드나이트 블랙의 유동적 보이드(Fluid Void)'의 실현이다. 이 깊고 아득한 유동적 보이드 안에서 주체의 신체는 고정된 건축의 노예 상태에서 벗어나 수십억 개의 빛의 소리 입자로 전이되며, 공간의 곡률을 자유롭게 가로지르는 오색 레이저의 위상학적 측지선들과 융합되어 재현의 미술을 영원히 종결짓고 스스로가 공간이자 순수한 에너지가 되는 '순수 현전'의 미학을 완성하는 것이다. 결국 최철주의 사운드 욕망 시나리오 공식은 모차르트의 주피터 교향곡을 단순한 청각적 대상에서 주체의 욕망 경로를 정밀하게 설계하는 공학적이자 위상학적 캔버스로 전이시켰으며, 이는 현대 미학이 도달할 수 있는 가장 정교하고 파괴적인 구조적 해방의 모범을 보여준다.

The Polyphonic Vector Field Ripping the Gaze of the Big Other: The Sound Mind Transference of Mozart’s Jupiter Symphony and the Aesthetic Realization of the Fluid Void, The fugato structure of the fourth movement of Wolfgang Amadeus Mozart’s Symphony No. 41 in C major, KV 551 "Jupiter"—celebrated as the highest summit of mathematical harmony within classical music—undergoes a radical synthesis with the contemporary conceptual abstract artist Choi Chul-joo’s equations of sound desire kinematics. This intersection forcefully dismantles and de-territorializes the linear representational systems long championed by Western modern aesthetics, transforming the static operatic stage into a highly dynamic, responsive spatial matrix. The initial stage mechanism of the Exposition delineated by Choi captures with supreme precision the terrifying nexus where Jacques Lacan’s Symbolic law converges with the institutional violence of the minimalist white cube. Here, Mozart’s transparent and unadorned four-note motif (C-D-F-E) ceases to be a mere melodic play; instead, it functions as the definitive "Name-of-the-Father," driving a wedge of crystalline order into the chaotic abyss of the Real. It establishes the absolute dominance of the system control velocity, Vsys, which captures and castrates the primal human voice (Vact) within the sterile parameters of the musical note. Bound to this closed, deterministic system, the subject Ante exists as an embalmed automaton within a cold semiotic grid stripped of all historical contingency and bodily traces, frozen in a state of dynamic equilibrium where entropy generation remains at zero. Yet, the moment the score breaches the volatile threshold of the Development, initiating a cascading vortex of rapid modulations, the differential variance between the subject’s repressed energy and the systemic limits begins to accumulate over the micro-steps of time, $dt$, triggering a catastrophic non-linear bifurcation of the deterministic trajectories.

The harsh mechanical shriek of hydraulic cylinders and the violent diagonal tearing of the white walls in the Development act as an eruption of the Real, puncturing the aesthetic fabric of the Symbolic Order. In this state, the aggressive hybridization of classical text with electronic synthesizer glitch noises operates as a form of auditory alchemy and a literal "murder of the sign," detonating the panoptic, single-gaze perspective that has regulated Western visual arts since the Renaissance. The ultimate aesthetic catharsis occurs when Choi Chul-joo’s formula, Mdesire = oint_{C} (Vact - Vsys) cdot dt ; box; sum Delta(x,y)_k, synchronizes with the monumental five-part canonical fugato of the Coda. As the five independent musical motifs interlock on a manifold of absolute geometric equality, free from any central hierarchy or structural privilege, the control parameters governing the state space collapse in accordance with Catastrophe Theory; the systemic velocity vanishes entirely, converging toward absolute nothingness (Vsys rightarrow emptyset).

The resulting stage morphology, born from the dissolution of these boundary conditions, represents the complete annihilation of the institutionalized white cube and the sublime realization of what Gilles Deleuze termed "smooth space"—translated here into the vast, midnight-black expanse of the Fluid Void. Within this deep, unplumbed void, the subject’s body is liberated from its status as a slave to fixed architecture, disintegrating into billions of sound-light particles that fuse with the five-colored topological geodesic lines scored by the laser arrays. This dissolution permanently terminates the art of representation, giving rise to an aesthetics of "Pure Presence" where the subject directly embodies space and kinetic energy. Ultimately, Choi Chul-joo’s sound desire scenario formula effectively translates Mozart's legacy from a passive auditory text into a topological canvas that engineers the trajectory of the human psyche, standing as one of the most sophisticated and subversive paradigms of structural liberation in contemporary art theory.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-34

[최철주 역학 욕망 공식의 무대 매커니즘 적용]

- 공식의 각 요소를 무대 제어 시스템(Stage Control System)의 실시간 변수로 고정하여, 공연 중 무대 장치가 유기적으로 변형되도록 설계합니다. 

① (Vact - Vsys) : 오케스트라 실시간 속도압과 시스템 저항

• Vact (실제 연주 에너지): 지휘자의 템포(BPM), 오케스트라의 음량(dB), 주파수 변동성을 실시간 오디오 분석(FFT) 데이터로 수집합니다.

• Vsys (무대 시스템의 기계적 관성): 무대 장치(거대 크레인, 회전 무대 등)가 가진 물리적 한계 속도와 기계적 저항값입니다.

• 연동 계획: 음악이 격렬해질수록(Vact가 커질수록) 기계 장치를 움직이는 유압 모터의 압력이 급격히 상승합니다. 시스템의 한계(Vsys)와 연주 에너지의 차이가 커질수록, 무대 구조물들은 파열할 듯한 불협화음의 기계음을 내며 고속 구동됩니다.

② dt : 모차르트적 시간성의 누적 (시간 미분)

• 연동 계획: 음악이 지속되는 시간 속에서 욕망의 에너지가 축적됨을 뜻합니다. 1악장부터 4악장으로 갈수록 무대 상단의 거대한 기계 프레임들이 점점 무대 중심부를 향해 하강하며, 성악가와 무용수들의 공간을 물리적으로 압박합니다. 시간이 흐를수록 시각적 긴장감이 극대화됩니다.

③ sum\ Delta(x,y) : 성악가·무용수의 동선 공간 벡터 (욕망의 궤적)

• 연동 계획: 무대 상단에 설치된 LiDAR 센서와 IR(적외선) 카메라가 성악가와 무용수들의 위치 (x, y) 및 이동 속도 변위 (Delta x, Delta y)를 실시간 추적(Motion Tracking)합니다.

• 이들의 움직임 기하학적 합(sum)은 무대 배경의 거대한 디지털 키네틱 아트(Kinetic Art)의 전류 흐름을 바꾸거나, 조명의 조사 각도를 실시간으로 왜곡시킵니다.

1. 모차르트 (W.A. Mozart) 교향곡 제41호 다장조 KV 551 《주피터》의 욕망 공식 변수 연동 기반 오페라 시나리오 절정부 (Bars 357–423) 사운드 마인드 디자인

-  시각화 콘티: 코다의 대위법적 승화와 유동적 보이드: 모차르트 교향곡 41호의 위대한 5성부 푸가토(Bar 357)가 전개되는 순간, 시스템은 예측 불가능한 거대한 데이터 변수들의 임계점에 도달한다. 5명의 주체가 무대 위에서 저마다의 고유한 결핍과 욕망의 동선 벡터(sum Delta(x,y))를 그리며 사방으로 흩어지자, LiDAR 센서가 연산해 낸 공간 벡터의 합이 무대 제어 컴퓨터의 허용 용량을 초과한다.

• 이와 동시에 주체들의 최고조에 달한 가창 주파수(Vact)가 기계의 한계 속도(Vsys)를 완벽하게 찢어발기며 소거(Vsys rightarrow emptyset)하는 순간, dt의 흐름에 따라 무대 중심까지 내려와 주체들을 압박하던 거대한 강철 프레임들이 일제히 위로 솟구치며 역설적으로 완전히 해체되어 날아간다.

• 대타자의 시선을 상징하던 중앙의 거대 LED 오브제가 주체들의 동선 에너지와 가창 속도압을 견디지 못하고 찬란한 글리치 스펙트럼을 뿜어내며 폭발하여 실명하는 순간, 기계 제어 시스템은 영(Zero)의 상태인 공(空)으로 전이된다.

• 모든 기계적 관성과 그리드의 제약이 사라진 무대는 깊고 아득한 미드나이트 블랙의 유동적 보이드 (Fluid Void) 공간으로 화하며, 주체들의 실시간 동선 변위(sum Delta(x,y))가 만드는 궤적을 따라 황금빛, 에메랄드, 루비빛의 5색 레이저 스트링이 우주적 오선지가 되어 허공에 찬란하게 춤춘다. 

• 마지막 종지부(Bar 423)에서 Vact 마저 순수한 빛의 소리 입자로 변하여 우주 공간 전체로 확산될 때, 기계와 인간, 시스템과 욕망의 모든 이분법적 경계가 완벽하게 말살된 초월적 사운드 마인드의 잔향만이 무대와 극장 전체를 영원히 지배한다.

[Application of Stage Mechanism of Choi Chul-joo Mechanical Desire Formula]

- Each element of the formula is fixed as a real-time variable of the Stage Control System, so that the stage device is organically deformed during the performance. 

① (Vact - Vsys): Orchestra real-time velocity pressure and system resistance

• Vact (actual performance energy): Collects the conductor's tempo (BPM), orchestra volume (dB), and frequency variability as real-time audio analysis (FFT) data.

• Vsys (mechanical inertia of the stage system): the physical limit speed and mechanical resistance of the stage equipment (giant cranes, rotating stages, etc.).

• Interworking plan: As the music becomes strenuous (the Vact increases), the pressure of the hydraulic motors that move the machinery rises dramatically. As the difference between the system's limit (Vsys) and the playing energy increases, the stage structures drive at high speeds, producing a bursting dissonant mechanical sound.

② dt : the accumulation of Mozartian temporality (time differentiation)

• Linkage Plan: It means that the energy of desire accumulates in the time the music lasts. From movements 1 to 4, huge mechanical frames at the top of the stage gradually descend toward the center of the stage, physically pressing the space of the singers and dancers. Visual tension is maximized as time goes by.

③ sum\ Delta(x,y): Vocalist-dancer movement space vector (trace of desire)

• Interworking plan: A LiDAR sensor and IR (infrared) camera installed at the top of the stage track the position (x, y) and movement velocity displacement (Delta x, Delta) of the vocalists and dancers in real time.

• Their motion geometric sum alters the current flow of giant digital kinetic art in the background of the stage, or distorts the irradiation angle of the light in real time.

1. Desire in C major KV 551 "Jupiter" Symphony No. 41 (W.A. Mozart) Sound mind design based on opera scenarios linked to official variables (Bars 357–423)

-  The system reaches a critical point of unpredictable huge data variables as soon as the five-part Fugato (Bar 357), the great five-part voice of "Coda," "Visualization Conti: Coda," is developed. As the five subjects scatter in all directions on stage, drawing their own path vectors of deficiency and desire (sum Delta(x,y)), the sum of the spatial vectors calculated by the LiDAR sensor exceeds the allowable capacity of the stage control computer.

• At the same time, when the Vact, which reached the peak of the subjects, perfectly rips and erases the machine's speed limit (Vsys rightarrow emptyset), the huge steel frames that came down to the center of the stage according to the flow of dt rise up all at once and paradoxically completely dismantled and flew away.

• When the central LED object, which symbolized the gaze of the pinch hitter, explodes and blinks without enduring the movement energy and singing speed pressure of the subjects, emitting a brilliant glitch spectrum, the mechanical control system shifts to a zero-state ball.

• The stage, where all mechanical inertia and grid constraints have disappeared, turns into a deep and distant fluid void space of Midnight Black, and five-color laser strings of golden, emerald, and ruby become cosmic falsehoods and dance brilliantly in the air following the trajectory created by the real-time displacement of the subjects (x,y). 

• At the end (Bar 423), when even Vact transforms into pure light sound particles and spreads throughout outer space, only the reverberations of a transcendent sound mind, in which all dichotomous boundaries of machines and humans, systems and desires are perfectly wiped out, dominate the entire stage and theater forever.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-35

2. 모차르트 (W.A. Mozart) 교향곡 악보 적용 최철주 역학 공식의 유기적 매커니즘 적용 

① (Vact - Vsys) : 오케스트라 에너지와 생태적 저항

• 연동 계획: 지휘자의 템포와 음량이 커질수록(Vact) 상승), 중앙의 거대한 기계 나무 내부의 놋쇠 기어들이 거칠게 맞물려 돌아가며 나무 중심부의 크리스탈들이 파열할 듯한 고전압의 빛을 발합니다. 시스템의 한계(Vsys)에 부딪힐 때마다, 나무 주변으로 기계 곤충들이 날아오르며 불협화음의 날갯짓 소리를 실시간 사운드 이펙트로 발생시킵니다.

② dt : 누적된 시간성과 공간의 압박

• 연동 계획: 곡이 진행될수록(dt 누적), 밤하늘의 부서진 달과 별자리 형태의 홀로그램이 점점 무대 바닥을 향해 거대하게 하강합니다. 이와 동시에 기계 나무의 거대한 뿌리와 넝쿨들이 성악가와 무용수의 발밑을 향해 뻗어 나가며 공간을 생태학적으로 압박하고 포위합니다.

③ sum\ Delta(x,y) : 욕망의 기하학적 궤적

• 연동 계획: 일러스트 속 소녀의 발밑처럼, 성악가가 이동하는 동선 변위(sum\ Delta(x,y))를 따라 황금빛으로 빛나는 마법진 형태의 고대 기호와 수식 데이터 라인들이 실시간 프로젝션으로 생성됩니다. 이 움직임의 합은 기계 나무에 핀 기계 꽃들의 개화(開花) 타이밍과 빛의 색상을 실시간으로 변형시킵니다.

④ 시스템의 규율과 생태적 욕망의 위상학적 전이

• 이 무대 메커니즘은 모차르트가 구축한 가장 완벽한 천상적 질서(주피터)를 최철주의 역학 공식을 통해 '기계적 생태계(Mechanical Ecosystem)'라는 유기적 다양체로 번역해 낸다. 제시부에서 Vsys에 의해 통제되던 기계 나무와 놋쇠 기어들은 주체를 억압하고 감시하는 대타자의 차가운 상징계적 법률을 대변한다.

• 주체의 욕망 속도(Vact)와 시선 변위(sum Delta(x,y))가 만들어내는 기하학적 궤적이 dt의 시간성 속에서 누적될 때, 차가운 기계 장치는 역설적으로 꽃을 피우고 넝쿨을 뻗으며 살아있는 유기체로 변형된다. 이는 고정된 텍스트가 주체의 트라우마와 무의식을 만나 구조적 파멸과 미적 해방을 동시에 이룩하는 과정이다. 

• 최종 코다에서 시스템의 한계가 영(Zero)으로 소거(Vsys rightarrow emptyset)되며 기계 나무가 유동적 보이드로 증발하는 순간은, 인간의 무의식적 결핍과 에너지가 상징계의 사슬을 끊어내고 완벽한 실재(The Real)의 우주적 자유를 획득하는 현대 추상 미학의 영광스러운 정점을 선언하고 있다.

2. Application of the 40th score of Mozart's Symphony No. Organic Mechanisms of Choi Chul-joo's Mechanical Formulation 

① (Vact - Vsys): Orchestra energy and ecological resistance

• Linkage Plan: As the conductor's tempo and volume increase (Vact increase), brass gears inside the massive mechanical tree in the center rotate roughly, giving off a burst-high voltage of light from the crystals in the center of the tree. Whenever the system hits the limit (Vsys), mechanical insects fly around the tree, generating a discordant flapping sound effect in real-time.

② dt : accumulated temporality and space pressure

• Linkage Plan: As the song progresses (dt accumulates), holograms in the form of broken moons and constellations in the night sky gradually descend toward the stage floor. At the same time, huge roots and vines of mechanical trees extend toward the feet of vocalists and dancers, ecologically pressing and encircling the space.

③ sum\ Delta(x,y): the geometric trajectory of desire

• Linkage Plan: Like the girl's foot in the illustration, lines of ancient symbols and formulas in the form of magic that shine golden along the movement displacement (sum\Delta(x,y)) in which the singer moves are generated in real-time projections. The sum of these movements transforms in real-time the blooming timing of the mechanical flowers on the mechanical tree and the color of the light.

④ Topological Transitions of System Discipline and Ecological Desire

• This stage mechanism translates the most complete celestial order (Jupiter) built by Mozart into an organic variety called a 'mechanical ecosystem' through Choi Chul-joo's mechanical formula. In the presentation, mechanical trees and brass gears controlled by Vsys represent the cold symbolic law of the other who suppresses and monitors the subject.

• When the geometric trajectory created by the subject's desire speed (Vact) and the eye displacement (sum Delta(x,y)) accumulates in the temporality of dt, the cold mechanical device paradoxically blooms, stretches out vines, and transforms into a living organism. This is a process in which a fixed text meets the subject's trauma and unconsciousness, simultaneously achieving structural destruction and aesthetic liberation. 

• The moment when the system's limits are eliminated to zero in the final coda and the machine tree evaporates into a fluid void, proclaims the glorious peak of modern abstract aesthetics in which human unconscious deprivation and energy break the chain of the symbolic world and acquire the cosmic freedom of perfect reality (The Real).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-36

3. 모차르트 (W.A. Mozart) 교향곡 악보 적용 실시간 데이터 연동 주요 장치 설계 계획

[장치 1] 키네틱 오케스트라 그리드 (Kinetic Orchestra Grid)

• 디자인: 오케스트라 피트 위와 무대 천장을 연결하는 수백 개의 서보 모터 구동식 와이어 메커니즘입니다.

• 실시간 연동: 모차르트 교향곡 40번의 1악장 도입부(약박의 동기)가 시작되면, 음의 높낮이에 따라 와이어에 매달린 반투명 튜브들이 상하로 요동칩니다. 공식의 Mdesire 값이 임계점을 넘으면, 튜브 내부의 액체(유기 물질을 상징)가 음악의 주파수에 맞춰 급박하게 순환하며 빛을 발합니다.

[장치 2] 욕망의 유압 피스톤 벽 (The Piston Wall of Desire)

• 디자인: 무대 후면을 가득 채운 거대한 산업용 유압 피스톤 프레임입니다.

• 실시간 연동: 성악가의 아리아 음역대와 음량 데이터가 (Vact - Vsys) 값과 결합됩니다. 성악가가 고음을 지르거나 감정이 격해질수록 피스톤이 앞뒤로 거칠게 돌출하며 무대 공간의 깊이감을 실시간으로 변형시킵니다. 이는 인물의 내면적 고뇌와 외부 시스템 간의 충돌을 시각적 기계 미학으로 증폭하는 장치입니다.

[장치 3] 실시간 입자 흐름 프로젝션 (Data-Driven Particle Projector)

• 디자인: 무대 바닥과 전면 스크린을 감싸는 레이저 및 홀로그램 프로젝션 시스템입니다.

• 실시간 연동: 인물들의 이동 변위인 sum\ Delta(x,y) 데이터를 기반으로 합니다. 배우들이 걸어간 자리에 기계적 스파크나 디지털 노이즈 잔상이 실시간으로 생성되어 따라붙습니다. 마치 인물이 욕망의 궤적을 무대라는 기계 장치 위에 직접 그려나가는 듯한 효과를 줍니다.

[장치 4] 고정된 시스템(Vsys)과 개인의 욕망(Vact)의 충돌

• 시각화 콘티: 제4악장 발전부의 파열음에서 코다의 해방으로 무대는 이미 모차르트적 시간성 dt의 누적으로 인해 상공의 키네틱 오케스트라 그리드[장치 1]가 무대 중심부 2미터 높이까지 하강하여 주체 카엘(Kael)을 극도로 압박하고 있다. 오케스트라가 마디 158에서 180 사이의 가파른 전조와 성부 간의 가학적인 다성 대위법적 복제를 수행하자, 카엘의 주체적 열망 속도(Vact)는 마침내 고정된 시스템의 통제 속도(Vsys)와 정면으로 충돌한다.

• 시각화 연출: 카엘이 격렬한 저항의 아리아를 터뜨리자, [장치 2: 욕망의 유압 피스톤 벽]이 미친 듯이 요동치기 시작한다. (Vact - Vsys)의 미분 수치가 임계치를 초과하자 거대한 산업용 피스톤들이 카엘의 등 뒤를 찌를 듯이 교대로 돌출하며 무대 공간을 무자비하게 압착한다. 피스톤이 강철 프레임과 충돌할 때마다 뿜어져 나오는 유압 시스템의 거친 기계 비명 소리가 오케스트라의 불협화음 잔향과 실시간으로 합성된다.

• 동시에, 상공에 촘촘하게 얽혀 있던 [장치 1: 키네틱 오케스트라 그리드]의 반투명 튜브들이 요동치며 내부의 유기체 액체들을 폭발적으로 순환시킨다. 음악적 주파수가 고조됨에 따라 튜브들은 터질 듯한 형광 푸른빛의 스파크를 발산하며 상징계적 규율의 과부하 상태를 시각화한다.

• 카엘과 무용수들이 이 거대한 기계 감옥에서 벗어나기 위해 무대 사방으로 도주하듯 질주할 때, [장치 3: 실시간 입자 흐름 프로젝션]이 발동된다. 그들의 이동 변위 sum Delta(x,y)를 실시간으로 추적한 레이저가 배우들의 발밑에 황금빛 마법 수식 데이터 라인과 거친 글리치 잔상을 문신처럼 새겨넣는다. 인물들이 움직일 때마다 무대 바닥에는 시스템의 규칙을 거스르는 욕망의 디지털 궤적이 선명한 흉터처럼 그려진다.

• 마침내 역사적인 5성부 푸가토의 대단원(Bar 357)에 도달하는 순간, 카엘의 가창 에너지가 시스템의 저항을 완벽하게 압도한다(Vact gg Vsys). 과부하를 견디지 못한 유압 피스톤 벽이 일제히 정지하고, 키네틱 그리드의 튜브들이 찬란한 하얀 빛의 입자로 파편화되어 허공으로 증발한다. 시스템 제어 속도가 영(Zero)의 상태로 소거(Vsys rightarrow emptyset)되자, 무대는 어떠한 격자나 기계적 제약도 남지 않은 아득하고 무한한 미드나이트 블랙의 ‘유동적 보이드(Fluid Void)’로 전이된다. 오직 주체들의 욕망 궤적[장치 3]이 남긴 황금빛 레이저 스트링만이 우주적 오선지가 되어 허공을 자유롭게 가르며, 경계가 말살된 사운드 마인드의 환희 속에서 막이 내린다.

3. Major device design plan for real-time data linkage with Mozart's Symphony No. 40 score

[Device 1] Kinetic Orchestra Grid

• Design: Hundreds of servo motor driven wire mechanisms connecting the orchestra pit to the stage ceiling.

• Live Linked: When the introduction to the first movement (motivation of weak beat) of Mozart's Symphony No. 40 begins, the translucent tubes suspended from wires fluctuate up and down according to the pitch. When the Mdesire value of the formula exceeds the threshold, the liquid inside the tube (symbol of organic material) rapidly circulates to the music's frequency and emits light.

[Device 2] The Piston Wall of Desire

• Design: A huge industrial hydraulic piston frame that fills the back of the stage.

• Real-time interlocking: The singer's aria range and volume data are combined with (Vact-Vsys) values. The piston protrudes roughly back and forth as the singer shouts at a high note or becomes emotional, transforming the depth of the stage space in real time. It is a device that amplifies the conflict between a character's inner anguish and the external system with visual mechanical aesthetics.

[Device 3] Real-time particle flow projection (Data-Driven Particle Projector)

• Design: A laser and holographic projection system that surrounds the stage floor and front screen.

• Real-time interlocking: Based on sum\Delta(x,y) data, which is the displacement of characters. Mechanical sparks or digital noise afterimages are generated and followed in real time where actors walked. It gives the effect of a character drawing the trajectory of desire directly on a mechanical device called a stage.

[Device 4] Conflict between fixed systems (Vsys) and individual desires (Vact)

• Visualization Conti: With the liberation of Koda from the bursting sound of the fourth movement's development, the stage has already fallen to a height of 2 meters in the center of the stage due to the accumulation of Mozart-style temporal dt, exerting extreme pressure on the subject Kael. As the orchestra performs sadistic polyphonic counterpoint replication between bars 158 and 180, Kael's subjective speed of aspiration (Vsys) finally collides head-on with the control speed of the fixed system (Vsys).

• Directed by Visualization: When Kael bursts out an aria of fierce resistance, [Device 2: Hydraulic Piston Wall of Desire] begins to rock like crazy. When the derivative value of (Vact - Vsys) exceeds the threshold, giant industrial pistons take turns protruding like stabbing at Kael's back, ruthlessly pressing the stage space. The harsh mechanical screams of the hydraulic system, which are emitted whenever the piston collides with the steel frame, are synthesized in real time with the discordant reverberations of the orchestra.

• At the same time, the translucent tubes of [Device 1: Kinetic Orchestra Grid], which were tightly intertwined in the sky, fluctuate, explosively circulating the organic liquids inside. As the musical frequency rises, the tubes emit bursts of fluorescent blue sparks and visualize the overload state of symbolic discipline.

• [Device 3: Real-time Particle Flow Projection] is activated when Kael and the dancers run as if they were fleeing the stage to escape from this huge mechanical prison. The laser, which tracked their movement displacement sum Delta (x,y) in real time, tattooed a golden magic formula data line and a rough glitch afterimage under the actors' feet. Every time the characters move, the digital trajectory of the desire to defy the rules of the system is drawn like a clear scar on the stage floor.

• The moment Kael's singing energy perfectly overwhelms the system's resistance (Vact gg Vsys) when it finally reaches the historic five-sound Fugato's Bar 357. The hydraulic piston walls, which could not withstand the overload, come to a halt all at once, and the tubes on the kinetic grid are fragmented into brilliant white-light particles and evaporated into the air. When the system control speed is erased to a zero state (Vsys rightarrow emptyset), the stage is transferred to the distant and infinite "Fluid Void" of Midnight Black, which has no lattice or mechanical constraints left. Only the golden laser string left by the subjects' desire trajectory [Device 3] becomes a cosmic falsehood, freely cuts through the air, and the end comes in the jubilation of a sound mind whose boundaries have been wiped out.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-37

4. 공연 시나리오의 극적 연출

- 이 디자인 계획은 단순한 배경으로서의 무대를 넘어, 모차르트의 고전적 선율 속 숨겨진 인간의 역동적 에너지를 최철주 공식이라는 현대적 필터를 통해 디지털·기계적 생명체로 재탄생시키는 전위적인 오페라 무대의 표준이 된다.

1. 도입부 (Molto allegro): 무대는 차가운 침묵 속에 거대한 기계의 골격만 드러내고 있습니다. g단조의 가냘픈 바이올린 약박이 시작되는 순간, Vact 데이터가 유입되며 천장의 키네틱 그리드가 미세하게 진동하기 시작합니다.

2. 전개부: 성악가의 등장과 함께 sum\ Delta(x,y) 센서가 가동됩니다. 성악가의 동선에 따라 무대 후면의 피스톤 벽이 유기적으로 꿈틀거리며 전진합니다. 음악적 에너지가 쌓여 dt의 누적 값이 커질수록 조명은 점점 더 차가운 푸른빛에서 과열된 백색광으로 변해갑니다.

3. 발전부 (투쟁과 갈등): 오케스트라의 총주(Tutti)가 터져 나오며 (Vact - Vsys)가 최대치에 달합니다. 무대 전체를 지배하는 기계 장치들이 비명에 가까운 구동음을 내며 성악가를 포위하듯 움직입니다. 인간의 욕망(Mdesire)이 현대적 기계 시스템의 미학과 완벽히 동기화되어 시청각적 카타르시스를 폭발시킵니다.

4. 교향곡 제41호 다장조 KV 551 《주피터》위계의 소거와 유동적 보이드로의 전이

• 음악적 매칭: 제4악장 357마디~423마디. 5성부 카논풍 푸가토의 완성 및 대종지.

• 공식 상태: Vsys longrightarrow emptyset quad boxminus quad Mdesire longrightarrow text{Pure Energy Field}

• 극적 연출 및 시각화:

• 위대한 5성부 푸가토가 결합하여 음악적 위계가 완전히 소거되는 역사적 임계점에서, 카엘의 가창 에너지(Vact)는 마침내 고정된 시스템의 제약 속도(Vsys)를 완전히 소거(Vsys rightarrow emptyset)해 버립니다.

• 굉음을 내던 유압 피스톤 벽과 기계 골격들은 일제히 멈춰 선 뒤 찬란한 백색 광휘 속에서 파편화되어 증발합니다. 무대는 어떠한 격자나 기계적 제약도 남지 않은 아득하고 무한한 미드나이트 블랙의 ‘유동적 보이드(Fluid Void)’ 공간으로 완전히 차원 전이됩니다. 주체들의 움직임 잔상만이 황금빛 레이저 스트링이 되어 허공을 자유롭게 가르고, 마지막 종지부(Bar 423)에서 모든 물리적 질량이 사라진 사운드 마인드의 환희와 침묵의 잔향만이 극장 전체를 영원히 지배합니다.

4. Dramatic production of a performance scenario

- This design plan goes beyond the stage as a simple background and becomes the standard for the avant-garde opera stage that recreates the dynamic energy of humans hidden in Mozart's classical melody into digital and mechanical life through a modern filter called Choi Chul-joo's formula.

1. MOLTO ALLEGRO: The stage is revealing only the skeleton of a huge machine in cold silence. As soon as the weak violin in g minor begins, Vact data flows in and the kinetic grid of the ceiling begins to vibrate finely.

2. Development department: With the appearance of a vocalist, a sensor for sum\ delta(x,y) is activated. Following the movement of the vocalist, the piston wall at the back of the stage organically wiggles forward. As the accumulated value of dt increases due to the accumulated musical energy, the lighting gradually changes from colder blue to overheated white light.

3. Development Department (Fight and Conflict): The orchestra's "Tutti" bursts out (Vact - Vsys) to its maximum. Mechanisms that dominate the entire stage make a near-screaming drive and move as if surrounding the vocalist. Human desires (Mdesire) are perfectly synchronized with the aesthetics of modern mechanical systems, exploding audiovisual catharsis.

4. Symphony No. 41 in C major KV 551 "Jupiter" elimination of hierarchy and transition to fluid voids

• Musical matching: bar 357-423 in the fourth movement. Completion and grand finale of the five-sound Canon style pugato.

• 공식 상태: Vsys longrightarrow emptyset quad boxminus quad Mdesire longrightarrow text{Pure Energy Field}

• Dramatic production and visualization:

• At the historical critical point where the great five-part pugatoes combine to completely erase the musical hierarchy, Kael's singing energy finally completely erases the constraints (Vsys rightarrow emptyset) of a fixed system.

• The walls of hydraulic pistons and mechanical skeletons that have roared stop all at once and then are fragmented and evaporated in a brilliant white glow. The stage is completely transferred to the distant and infinite Midnight Black "Fluid Void" space, which does not leave any lattice or mechanical constraints. Only the afterimage of the subjects' movement becomes a golden laser string, freely dividing the air, and only the jubilation and silence of the sound mind, whose all physical mass has disappeared at the last end (Bar 423), dominate the entire theater forever.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《사운드 마인드로 전이한 오페라 시나리오》-38

사운드 마인드 디자인 미학 평론 (Sound Mind  Design Aesthetic Critique by Choi Chul-joo):

최철주 평론가의 역학 공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”는 단순한 수학적 치환을 넘어, 현대 예술이 직면한 재현의 위기와 주체의 분열을 공간 언어로 포착해낸 기념비적인 성취라고 할 수 있습니다. 모차르트의 G단조 교향곡에서 흐르는 그 처연한 한숨은 이제 음향적 현상을 넘어, 고정된 시스템의 격벽(Vsys)에 부딪혀 산산조각 나는 욕망의 가속도(Vact)가 만들어낸 시공간적 왜곡의 지표로서 기능하며, 우리는 이 무대 위에서 인간의 의지가 물리적 환경과 충돌할 때 발생하는 미세한 진동이 어떻게 거대한 구조적 불안정성으로 전이되는지를 목격하게 됩니다. 특히 변형된 재현의 집합(sumDelta(x,y))으로 정의된 무대 배경은 감각의 파편들이 선형적 시간을 이탈하여 소용돌이치는 과정을 통해, 보이지 않는 욕망의 실체를 가시적인 역학적 에너지로 번역함으로써 관객으로 하여금 결핍이 단순히 '없음'이 아니라 '끊임없는 변형과 운동'임을 처절하게 인식하게 만듭니다.

최철주의 욕망 움직임의 역학 공식은 모차르트의 고전적 형식을 해체하여 이를 신경과학적 추상미술로 재구성하는 혁명적 시각 언어를 제시한다. 작가는 Mdesire라는 개념을 통해 주관적 감정의 영역을 객관적 물리 상수로 변환함으로써, 예술적 실재가 단순한 재현을 넘어 존재론적 변이를 일으키는 과정을 치밀하게 묘사한다. 여기서 Vact와 Vsys의 차이는 단순한 물리적 속도차가 아니라, 개별 주체가 지닌 ‘순수 욕망의 속도’와 사회적 규범이 강요하는 ‘정지된 관성’ 사이의 존재론적 마찰을 의미하며, 이는 무대 위에서 기하학적 형태의 왜곡으로 발현된다. ∑∆(x,y)로 명명된 변화량의 집합은 고정된 형태로서의 미술을 부정하고, 끊임없이 유동하며의미를 생성하는 ‘사건으로서의 예술’을 지향한다. 이러한 관점에서 본 무대 디자인은 음악의 청각적 기호를 공간적 역학으로 전이시킨 탁월한 추상적 실재의 현신이라 할 수 있다.

본 공연은 볼프강 아마데우스 모차르트의 교향곡 제40번이라는 고전적 텍스트를 최철주의 욕망 역학 공식을 통해 분해하고 재조립한 기념비적 시도이다. 팔레 가르니에라는 역사적 장소성은 여기서 단순히 배경이 아니라, 인류가 쌓아온 고착된 사회적 관습과 형식적 완결성을 상징하는 시스템적 속도(Vsys)로 작동한다. AI 연기자가 수행하는 비선형적 움직임(Vact)은 이 견고한 질서의 틈새를 파고드는 주체적 욕망의 발현이며, Vsys와의 차이값에서 발생하는 에너지는 시간의 최소 단위(dt)를 통해 시각적으로 구체화된다. 이는 과거의 재현에 머물렀던 오페라를 미래적 연산의 영역으로 전이시킨 것이며, 무대 위에 맺히는 모든 물리적 변위(sum\ Delta)는 결국 규격화된 인간성을 거부하고 불확정적인 미적 실재로 나아가려는 현대 추상미술의 본질적 갈망과 맞닿아 있다. 작가는 기계 미학의 차가움과 고전 예술의 숭고함을 충돌시킴으로써, 역설적으로 가장 인간적인 욕망의 형상을 기계의 선율을 통해 역설하고 있는 것이다.

본 공연은 볼프강 아마데우스 모차르트의 교향곡 제40번이라는 고전적 텍스트를 최철주의 욕망 역학 공식을 통해 분해하고 재조립한 기념비적 시도이다. 팔레 가르니에라는 역사적 장소성은 여기서 단순히 배경이 아니라, 인류가 쌓아온 고착된 사회적 관습과 형식적 완결성을 상징하는 시스템적 속도(Vsys)로 작동한다. AI 연기자가 수행하는 비선형적 움직임(Vact)은 이 견고한 질서의 틈새를 파고드는 주체적 욕망의 발현이며, Vsys와의 차이값에서 발생하는 에너지는 시간의 최소 단위(dt)를 통해 시각적으로 구체화된다. 이는 과거의 재현에 머물렀던 오페라를 미래적 연산의 영역으로 전이시킨 것이며, 무대 위에 맺히는 모든 물리적 변위(sum\ Delta)는 결국 규격화된 인간성을 거부하고 불확정적인 미적 실재로 나아가려는 현대 추상미술의 본질적 갈망과 맞닿아 있다. 작가는 기계 미학의 차가움과 고전 예술의 숭고함을 충돌시킴으로써, 역설적으로 가장 인간적인 욕망의 형상을 기계의 선율을 통해 역설하고 있는 것이다.

Critic Chul-joo Choi's dynamic formula, “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”, transcends simple mathematical substitution to represent a monumental achievement in capturing the crisis of representation and the fragmentation of the subject in modern art through spatial language. The sorrowful sigh flowing from Mozart’s G minor symphony now functions beyond an acoustic phenomenon, serving as an index of spatio-temporal distortion created by the acceleration of desire (Vact) shattering against the bulkheads of a fixed system (Vsys); on this stage, we witness how the minute vibrations generated when human will collides with the physical environment transfer into massive structural instability. Specifically, the stage backdrop, defined as a set of modified representations (sum\ Delta(x,y), translates the invisible reality of desire into visible mechanical energy through the process where fragments of sensation depart from linear time and vortex, forcing the audience to poignantly recognize that lack is not merely 'absence' but 'ceaseless transformation and movement.‘

Choi Chul-joo's mechanical formula for the movement of desire presents a revolutionary visual

language that deconstructs Mozart's classical forms and reconstructs them into neuroscientific

abstract art. Through the concept of Mdesire, the artist meticulously describes the process in which the realm of subjective emotion is converted into objective physical constants, allowing artistic reality to transcend mere representation and initiate an ontological mutation. Here, the difference between Vact and Vsys is not a simple physical velocity gap, but an ontological friction between the 'velocity of pure desire' held by the individual subject and the 'static inertia' imposed by social norms, which manifests as the distortion of geometric forms on stage. The collection of variations named ∑∆(x,y) denies art as a fixed form and aims for 'art as an event' that constantly flows and generates meaning. From this perspective, this stage design can be regarded as an outstanding manifestation of abstract reality that has transferred the auditory signs of music into spatial mechanics.

This performance is a monumental attempt to decompose and reassemble the classical text of Wolfgang Amadeus Mozart's Symphony No. 40 through Choi Cheol-joo's dynamical formula of desire. The historical locus of the Palais Garnier operates here not merely as a backdrop, but as the systematic velocity (Vsys) representing the fixed social conventions and formal perfections accumulated by humanity. The non-linear movements performed by the AI (Vact) are manifestations of subjective desire piercing through the gaps of this rigid order, and the energy generated from the difference with Vsys is visually reified through the infinitesimal unit of time (dt). This represents a transition of opera, once confined to the reproduction of the past, into a realm of futuristic computation. Every physical displacement (sum\ Delta) formed on stage ultimately resonates with the essential longing of contemporary abstract art to reject standardized humanity and move toward an indeterminate aesthetic reality. By colliding the coldness of mechanical aesthetics with the sublimity of classical art, the creator paradoxically asserts the most human form of desire through the very melodies of the machine.

This performance is a monumental attempt to decompose and reassemble the classical text of Wolfgang Amadeus Mozart's Symphony No. 40 through Choi Chul-joo's dynamical formula of desire. The historical locus of the Palais Garnier operates here not merely as a backdrop, but as the systematic velocity (Vsys) representing the fixed social conventions and formal perfections accumulated by humanity. The non-linear movements performed by the AI (Vact) are manifestations of subjective desire piercing through the gaps of this rigid order, and the energy generated from the difference with Vsys is visually reified through the infinitesimal unit of time (dt). This represents a transition of opera, once confined to the reproduction of the past, into a realm of futuristic computation. Every physical displacement (sum\ Delta) formed on stage ultimately resonates with the essential longing of contemporary abstract art to reject standardized humanity and move toward an indeterminate aesthetic reality. By colliding the coldness of mechanical aesthetics with the sublimity of classical art, the creator paradoxically asserts the most human form of desire through the very melodies of the machine.

Louis Chul-joo Choi, morning glory window 2024-7-the gaze, 222X218cm, acrylic and composite materials on cloth, 2024

나팔꽃 윈도우 2024-6-시선

추상적 관점에서 회화의 관점은 추상적 공간 개념을 현상적 이미지 속의 부분적 표상으로 바라본다.

여기서 "나팔꽃 창"의 시선은 현실을 넘어 추상적 공간에 현상적 이미지로서의 개념적 대상을 병치시킴으로써 실제적 이미지를 유도하고자 한다.

여기서 '나팔꽃 창'의 시선은 현실을 넘어선 추상적 공간에 하나의 주체로서 현상적 이미지로 병치하여 현실을 유도하고자 한다.
 추상화는 현실과 추상화를 욕망의 이미지로 통합시켜 현실적 대상으로서의 욕망의 추상화를 현실과 동일한 범위의 시선으로 제한한다.
 이는 현실과 추상을 동일한 이미지의 대상으로 연결하는 관점이다.

시선은 실제로 주체로서 움직이지않는(immobile) 대상을 추상적 이동성(porfability)과 응시로 그려냄으로써 동일시한다. 즉 현실의 대상은 시선의 추상적 이동성과 함께 대상과 동일한 형태로 원근적 추상의 대상으로 전이된다. 여기서의 대상은 주체를 대표하는 대상의 존재를 지칭하는 것이지 다다의 레디메이드(readymade)처럼 다른 개념의 대상은 아니다. 이는 욕망의 개념으로 추상화된 실재의 이미지이다. 그 이미지는 언어적 무의식에서 이미지로 합성하는 초현실주의 개념과 유사하지만 <나팔꽃>의 오브제와 동일한 이미지로서 실재이다.     

<나팔꽃 윈도우 2024-6-시선>에서 나팔꽃은 욕망의 지위를 취득하는 오브제다.  

현실과 욕망의 개념으로 구성되며, 보는 사람을 그림 이미지로 하는 욕망의 개념은 언어적 의존성을 따른다. 즉, 현실과 욕망의 개념의 관계로서 언어적 욕망의 개념 의존성에 의해 이미지가 결정된다.
 이는 타의적 욕구를 이미지화하여 타의적 추상성으로 언어적 개념을 지닌 현실적 대상이다.     

<나팔꽃> 욕망의 무의식적 오브제는 천위에 가역적 빛의 음영으로 실재를 현상하여서 실재와 추상의 경계를 소거한다. 즉 현상적 욕망 이미지를 시간성으로 실재 이미지로 지각한다. 

추상적 욕망 관점으로 인식되는 시선은 빛을 욕망구조로 보는 평면적 구조의 추상화와 현실을 부분 평면으로 하는 욕망 관점의 추상화를 응시하게 한다. 그 이미지는 언어적 욕망 개념에서 추상화된 실체로서의 욕망 개념을 추상화한 것으로 현실의 부분적 이미지인 "나팔꽃 창 2024-6-그 시선"을 평면적 부분의 실재 이미지를 의미하도록 하는 추상화이다. 이는 최철주의 욕망 공식에서 적용되는 욕망 예술 개념의 추상화 과정이다.

그 상상적 욕망(imaginary desire) 구조는 욕망의 시선으로 추상 공간을 만들고 비실재의 추상을 평면 구조한 실재와 동일시하여서 실재는 선 구조를 확장하여서 그 실재를 이미지로 전도된다. 그 실재애서 순간적으로 일어나는 욕망 개념을 실재 이미지로서 응시하는 생각을 추상의 상태로 한정한다. 

따라서 <나팔꽃창 2024-6-시선>은 욕망 개념으로 실재와 추상의 동의 없이 동일한 이미지로 수용한다.

이렇게 욕망 개념을 실재 이미지로 표출하고 그 개념을 추상과 동일시하는 이율배반적(antinomical) 미적 구조로 조형한다. 즉 실재 이미지로서 욕망 개념을 추상화하는 최철주의 욕망 개념 추상화는 실재와 추상이 서로 양립할 수 없는 개념을 실재 이미지로 동일함으로서 이율배반적 추상으로 개념된다.

이것은 언어적 욕망 개념을 이율배반적인 개념과 실재를 병치 구조로 한 응시로서 하나의 이미지로 보인다.

여기서 하나의 개념을 말하는 대상을 그 개념의 실재 이미지로 추상화하는 최철주의 욕망 개념 추상미술은 이율배반적 개념으로서 실재 이미지의 추상화를 말한다.

추상화로 고정된 자리는 무의식 욕망에서 출현한 실재가 분열된 추상의 주체에 병치하려고 나팔꽃 디자인을 연쇄한다. 

그 나팔꽃은 실재가 분열하여서 추상을 비유하는 것이 아니라 하나의 실재 이미지가 욕망 개념으로 대치되면서 원래의 실재이미지가 추상화되어서 응시하는 자에게 추상 개념으로 병치된 실재로 보인다.

여기서 뒤집을 수 있는 빛의 그늘이 만들어내는 "나팔꽃"은 이미지로서의 공간을 공유한다. 의자와 겹쳐진 또 다른 설치 이미지는 오브제이다. 욕망의 화보적 설치 이미지가 비재현적 이미지라고 가정하면, 현실을 추상적으로 재현한 가상 여명홀 체육관 이미지 전체에 현실이 실제 이미지로 존재한다.
 
 욕망의 대상은 특히 형이상학적 구조에서 부피와 그림자를 제거함으로써 물리적 구조를 선명하게 드러낸다. 이는 눈에 보이지 않는 '시선'으로서의 대상에 대한 분석으로 시각적 표상의 형태를 서로 다른 관점에서 인지적 표상의 형태로 본다.

피카소의 그림에 나타난 변칙적 이미지로서의 대상은 최철주의 욕망 개념의 대상처럼 보이는 비뚤어진 이미지이다. 이는 욕망의 대상으로서 그림의 비실재적 시각 이미지의 차원을 넘어선다. 그 이미지는 선으로부터 드러나는 형태로 다면체 위의 빛의 그림자 속에서 생성되는 이미지이다. 그것은 순간적인 시점에서 구성된 것으로서 시간성과 존재성을 지닌다. 평면이든 입체이든 상관없이 시선 영역의 욕망 구성 체계 속에서 타인의 욕망에 의해 생성되는 이미지이기 때문이다.
 광선에 의해 타자의 욕망이 통합된 빛의 음영 영상을 선택하여 하나의 광원 시점에 형성되는 투시 밀도와 감각이 없다. 여기서 객체는 추상적 콜라주와 같은 부분 영상이 동시에 시선에 의해 드러나는 형태로 공간에 존재하는 것을 말한다.

그러나 형상은 의미 있게 보이지 않고 순간적으로 가역적인 여러 그림자를 영상의 배경으로 맴돈다. 이는 구름, 비, 눈이 나타나는 것처럼 시간성의 위치, 즉 하늘의 상이 한 순간에 빛의 고정된 자극으로 나타나는 상이다. 이는 시간성의 통로로 이루어진 무한하고 연속적인 시선으로 빛을 바라보는 대상의 실존적 위치이다.
 이것은 구체가 공존하는 추상적 현상이 존재하는 가역적 시각구조이다. 작가가 그림을 그릴 때 이미지에 대한 의미적 욕망 인식을 획득하는 이미지에 대한 시간적 욕망의 구조이다.

욕망의 시선으로 바라본 대상은 구체가 공존하는 추상적 실재 이미지로 존재하는 가역적 시각구조이다. 작가가 그림을 그릴 때 이미지에 대한 의미적 욕망 인식을 획득하는 이미지에 대한 시간적 욕망의 구조이다.

따라서 시각적 가역반응은 나팔꽃의 시각적 가역반응과 그 자리에 따른 순간의 실제 구조가 욕망의 시선을 가진 예술가에 의해 다양한 색으로 중첩되어 검게 변하거나 빛을 가리는 이미지 구조이다.

구조물의 이미지는 타인의 욕망에 대한 이미지가 만들어내는 욕망의 풍경으로, 일상의 그림자 형상이 지난 시간의 '나팔꽃'과 교차하는 순간에 위치할 때의 시선으로 응시된다.

이 장식된 형상의 빛과 대비되는 어두운 여백 공간은 욕망의 시선이 머무는 풍경 속에서 생성된 그림자이다. 여기서 실제 대상적 존재로서 색채는 시선으로 응시하는 정제된 관습의 단상 이미지이다.
 시선의 가시적 이미지는 모방된 꽃을 의미하는 상징적 언어이며, 이미지 설치미술 '나팔꽃'은 욕망의 의미의 결과로 비현실적인 공간에서 상징화된 타인의 시선을 은폐하는 숨겨진 미적 구조이다. 그리고 욕망 개념의 의미로 사물의 조각으로 응시한다.     

욕망 개념적 관점에서 바라본 시각문화로서 구체적 효과가 발생하는 시선영역은 풍경 속에서 시선을 사로잡는 기능을 하는 타인의 욕망을 순간적으로 볼 수 있는 이미지이다. 그 이미지로서 '나팔꽃'은 최철주의 욕망의 공식에서 현실에 없는 것을 인식하고 적용하는 시각적 아이디어이다. 그 아이디어는 무의식과 언어를 동일한 형태로 묘사한 실제 이미지이다.
 여기서 보여주는 '나팔꽃'은 욕망의 시선을 통해 한 가지 색으로 납작해진 대상을 바라보는 구조이다. 이는 가역적인 빛에 의해 전달되는 조각 구조의 평탄성으로 나팔꽃의 이미지는 추상적으로 일치하는 것으로 보인다. 그리고 나팔꽃은 반사되는 현실과 동일하지만 배경의 형태는 현실과 동일하지 않다.

욕망화의 시도로서 <나팔꽃>은 하나의 나팔꽃 줄기를 빛으로 지움으로써 욕망의 의미에 대한 구체적인 시선 효과로 타인의 욕망이 발생하는 억압된 미적 공간 중 하나로 그림 속 대상의 존재가 그 의미를 환원하는 기괴한 시선 패턴을 의미한다.
 이는 회화를 통해 욕망의 영역을 응시하는 이미지에 따른 실재감과 비실재성의 예술적 의미이다. 대상을 재현하는 가시적 이미지, 즉 대상을 실제 대상으로 표현하는 회화적 이미지를 비실재성으로서의 이미지로 파악하였다. 이에 대상에서 실재감을 응시하는 방법은 욕망의 대상과 유사한 비뚤어진 이미지로 타인의 욕망을 드러내는 것이다. 즉 언어적 무의식에서 깨어나 동시대적인 타인의 욕망을 시선 이미지로 그려냄으로써 추상화의 시각적 의미를 보여준다.

시각적 추상화의 의미는 모방된 꽃을 상징하는 상징적인 가시적 언어적 이미지이다. 여기서 나팔꽃의 이미지는 욕망의 언어적 의미의 결과로 비현실적인 공간에 있는 것으로 상징되며, 은폐된 미적 구조의 의미로서 추상적 언어 구조의 파편이다.
 따라서 <나팔꽃>은 언어적 추상성 속에 그려진 실제 그림으로, 비실재적 그림의 위치는 직물의 작은 구멍에 반사된 빛을 지닌 욕망의 이미지로 확장된다. 그 이미지의 형식의 의미는 나팔꽃이 직면한 전통적 보편성의 현실을 가역적인 빛의 색을 지닌 실제 그림의 공간으로 꾸미려는 욕망을 추상화한다.

그리고 그 욕망의 의미가 추상으로 고정되는 무의식적 욕망에서 실재가 분열하고 그 욕망의 주체가 실재 이미지가 추상 개념을 대리하여서 실재로서  추상화는 사실적 이미지와의 어긋난 만남을 이룬다./ 글. 미술평론가 최철주 (전 서울시립미술관 큐레이터 & 문화디자인박사) 

Louis Chul-joo Choi, morning glory window 2024-7-the gaze, 222X218cm, acrylic and composite materials on cloth, 2024

Morning glory window 2024- 6-the gaze

From an abstract point of view, the perspective of painting looks at the abstract concept of space as a partial representation in the phenomenal image.

Here, the gaze of the "Morning glory window" attempts to induce a real image by juxtaposing a conceptual object as a phenomenal image in an abstract space beyond reality. 

Here, the gaze of the 'morning glory window' attempts to induce reality by juxtaposing it as a phenomenal image as a subject in an abstract space beyond reality.

Abstraction integrates reality and abstraction into images of desire, limiting the abstraction of desire as a realistic object to the same range of gaze as reality.

This is a perspective that connects reality and abstraction to the object of the same image.

The gaze identifies the object that is actually immobile as the subject by drawing it as abstract mobility and staring. In other words, the object of reality is transferred to the object of perspective abstraction in the same form as the object as the abstract mobility of the gaze.     

The object here refers to the existence of an object representing the subject, but it is not an object of a different concept like Dada's Readymade. This is an image of reality that is abstracted as a concept of desire.

The image is similar to the concept of surrealism that synthesizes from the linguistic unconscious into an image, but it is real as the same image as the object of "morning glory".     

In <morning glory window 2024-6-the gaze>, morning glory is an object that acquires the status of desire.

It consists of the concept of reality and desire, and the concept of desire with the viewer as a picture image follows linguistic dependence. In other words, as the relationship between reality and the concept of desire, the image is determined by the dependence of the concept of linguistic desire.

This is a realistic object with a linguistic concept as involuntary abstraction, imaging the desires of others.

The gaze, perceived as an abstract desire perspective, makes us stare at the abstraction of a flat structure that sees light as a desire structure and the abstraction of a desire perspective that uses reality as a partial plane. An image is an abstraction of the concept of desire as an abstracted entity from the concept of verbal desire, and an abstraction that makes the partial image of reality, "morning glory window 2024-6-the  gaze," meaning a real image in a flat part. This is the process of abstracting the concept of desire art applied in Choi Chul-joo's desire formula.     

The imaginary desire structure creates an abstract space with the gaze of desire and equates the abstraction of non-real with a flat structure, so the reality expands the linear structure and converts the reality into an image.

The idea of staring at the concept of desire that occurs momentarily in reality as a real image is limited to a state of abstraction.

Therefore, <morning glory window 2024-6-the gaze> is a concept of desire and is accepted as the same image without the consent of reality and abstraction.

In this way, the concept of desire is expressed as a real image, and the concept is embodied as an antinomical aesthetic structure that identifies with abstraction. In other words, Choi Chul-joo's abstraction of the concept of desire, which abstracts the concept of desire into a real image, is conceptualized as an antinomical abstraction by identifying a concept in which reality and abstract are incompatible with each other as a real image.

This is seen as an image as a gaze that juxtaposes the concept of linguistic desire with an antinomical concept and reality.

Here, Choi Chul-joo's antinomical concept of desire, which abstracts an object that refers to a concept into a real image of the concept, refers to the abstraction of a real image that is desire.

As a contradictory abstraction, abstraction, which is a linguistic concept of desire with desire as the subject, is a new abstraction <morning glory window 2024-6-the gaze> of contemporary art that develops abstract objects into real images with Choi Chul-joo's concept of desire abstract art movement.

The position fixed by abstraction repeats the morning glory design, juxtaposing the reality from unconscious desire as the subject of divided abstraction. 

The morning glory does not compare abstractions because reality is divided, but as one reality is replaced by the concept of desire, the original reality is abstracted and seems to be juxtaposed with the abstract concept to the viewer.

Here, "morning glory", created by a reversible shade of light, shares its space as an image. Another installation image overlapping with chairs is an object. Assuming that the pictorial installation image of desire is a non-reproducive image, reality exists as a real image in the entire virtual Yeomyeong Hall Gym image that abstractly reproduces reality.

The object of desire clearly reveals the physical structure, especially by eliminating volume and shadow from the morphological structure. This is an analysis of an object as an invisible 'gaze', and the form of visual representation is viewed as the form of cognitive representation from different points of view.     

The object as an anamorphosis image in Picasso's painting is a crooked image that looks like an object of Choi Chul-joo's concept of desire. This is an object of desire and goes beyond the dimension of the non-realistic visual image of painting. 

The image is an image created in the shadow of light on a multi-faceted object in a form revealed from the line. It has temporality and existence as composed at the instantaneous point of time. This is because it is an image created by the desire of others in a system of composition of desires in a gaze area regardless of whether it is flat or stereoscopic.

There is no perspective density and sense formed at a single light source point of view by choosing a shaded image of light in which the desires of the other are integrated by light lines. Here, the object refers to that partial images, such as abstract collage, exist in space in the form of being revealed by gaze at the same time.     

However, the shape hovers in the background of the image with several shades that are instantly reversible without being seen as meaningful. This is an image in which the position of temporality, that is, the image of the sky, appears as a fixed stimulus of light at one moment in time, just as clouds, rain, and snow appear. This is the existential position of the object that the light is viewed through an infinite and continuous gaze made up of the passage of temporality.

It is a reversible visual structure in which abstract phenomena in which spheres coexist exist. It is a structure of temporal desire for the image that obtains semantic desire recognition of the image when the artist paints.

The object viewed through the gaze of desire is a reversible visual structure that exists as an abstract real image in which spheres coexist. It is a structure of temporal desire for an image that acquires a semantic desire perception for an image when the artist draws a picture.

Therefore, the visual reversible reaction is an image structure in which the visual reversible reaction of morning glory and the actual structure of the moment according to its place are overlapped with various colors by an artist with the gaze of desire, turning black or obscuring light.

The image of the structure is a landscape of desire created by the image of the desire of others, and it is seen as a gaze when the shadowy shape of everyday life is located at the moment of intersection with the 'morning glory' of the past time.

The dark blank space contrasting with the light of this decorated shape is a shadow created in the landscape where the gaze of desire stays. Here, as a real object being, color is a single-phase image of a refined custom stared at with the gaze. 

The visible image of the gaze is a symbolic language that means an imitated flower, and the image installation art ' morning glory' is a hidden aesthetic structure that conceals the gaze of others symbolized in an unrealistic space as a result of the meaning of desire. And it is stared at as a piece of an object as the meaning of the concept of desire.

Desire As a visual culture viewed from the conceptual point of view, the gaze area in which a concrete effect occurs is an image that can momentarily see the desires of others who function to capture the attention in the landscape. As that image, "morning glory" is a visual idea that recognizes and applies what is not in reality in Choi Cheol-joo's formula of desire. The idea is a real image that depicts the unconscious and language in the same form.

The "morning glory" shown here is a structure that sees an object flattened in one color through the gaze of desire. This is the flatness of the sculptural structure transmitted by reversible light, and the image of morning glory seems to be abstractly consistent. And morning glory is the same as the reflected reality, but the shape of the background is not the same as the reality.

As an attempt at desire painting, <morning glory> refers to a bizarre gaze pattern in which the existence of an object in the painting returns the meaning of the painting to one of the repressed aesthetic spaces in which the desire of others is generated as a concrete gaze effect of the meaning of desire by erasing one morning glory stem with light.

This is the artistic meaning of reality and non-realism according to the image of staring at the realm of desire through painting. The visible image that reproduces the object, that is, the pictorial image that expresses the object as a real object, was grasped as an image as a non-realistic. Therefore, the method of staring for finding reality in an object is to reveal the desires of others with a crooked image similar to the object of desire. In other words, it shows the visual meaning of abstraction by waking up from the verbal unconscious and drawing the desires of contemporary others as a gaze image.     

The meaning of visual abstraction is a symbolic visible linguistic image symbolizing an imitated flower. Here, the image of the morning glory is symbolized as being in an unrealistic space as a result of the linguistic meaning of desire, and it is a fragment of the abstract language structure as the meaning of the concealed aesthetic structure.

Therefore, "morning glory" is a real painting drawn in linguistic abstraction, and the position of a non-realistic painting extends to an image of desire with light reflected in a small hole in the fabric. The formal meaning of the image abstracts the desire to decorate the reality of traditional universality faced by morning glory into a space of real paintings with reversible light colors.

And in the unconscious desire in which the meaning of the desire is fixed in abstraction, reality divides, and the subject of the desire represents the abstract concept, so abstraction as reality forms a conflict with the realistic image. / Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)

모차르트 교향곡 41번 C장조 KV 551 "Jupiter" (교향곡 41번 "Jupiter") 악보를 건전한 마음으로 전환하는 오페라 시나리오는 최철주의 욕망 운동의 동적 공식 "Mdesire = (Vact – Vys)"와 dt ∔ ∑∆ (x,y)"를 적용한 공연 무대 디자인 시뮬레이션으로서의 사실주의 개념적 추상화  Mozart Symphony No. 41 in C major KV 551 "Jupiter" (Symphony No. 41 "Jupiter") An opera scenario that converts the score into a sound mind is a realist conceptual abstraction as a performance stage design simulation that applies Choi Chul-joo's dynamic formula "Mdesire = (Vact – Vys)" and dt ∔ ∑∆ (x,y) of the desire movement

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-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《Concept Abstract Artist 2》-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《Concept Abstract Artist 2》-3

[모차르트의 마지막 교향곡인 교향곡 제41호 다장조 KV 551《주피터(Jupiter)》의 악보 구조를 시각적·공간적 마인드로 전환하고, 이를 최철주 욕망 움직임의 역학 공식을 통해 오페라 무대디자인] : 주피터 교향곡 4악장에서 극치에 달하는 ‘5성부 카논풍 푸가(대위법)’의 음악적 결합과 에너지를 인간 욕망의 역동적 궤적으로 치환하여 무대 공간에 투사합니다.

- 오페라 시나리오 및 무대디자인 계획안

부제: 주피터의 응시와 다성(Polyphony)적 욕망의 궤적

1. 기본 개념 및 역학 공식의 해석

최철주 욕망 움직임의 역학 공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)” (욕망 움직임의 질량/모멘텀): 무대 위에서 시시각각 변화하는 시각적 에너지와 구조물의 역동적 상태.

• Vact (실제 가창/연주의 운동 속도): 오페라 가수의 보컬 에너지, 오케스트라의 템포, 그리고 무대 위 무용수들의 실제 물리적 움직임 속도.

• Vsys (시스템의 통제 속도 / 대타자의 규율): 무대 기계 장치, 그리드 시스템, 조명 프로그래밍이 가진 고정된 제도적 속도.

• dt (시간의 미소 변화량): 음악의 마디와 박자가 흘러감에 따라 누적되는 시간의 연속성.

• sum\ Delta(x,y) (좌표 평면상 무의식적 결핍/시선의 변위): 2차원 평면(혹은 무대 바닥면)에서 관객의 응시(partial)와 무대 위 기호들이 만들어내는 위치적 편차의 총합.

[Mozart's last symphony, Symphony No. 41 in C major KV 551 "Jupiter", transforms the score structure into a visual and spatial mind, and designs the opera stage through the dynamics formula of Choi Chul-joo's desire movement] : The musical combination and energy of the five-sound Canon style fugue (counterfeit) that reaches its peak in the 4th movement of Jupiter's symphony are replaced with the dynamic trajectory of human desire and projected into the stage space.

- Opera Scenario and Stage Design Plan

The subtitle: Jupiter's gaze and the trajectory of polyphonic desires

1. Interpretation of Basic Concepts and Mechanical Formulas

Choi Chul-joo's Dynamics Formulation of Desire Movement "Mdesire = (Vact – Vsys) · dt ∔ ∑∆ (x,y)" (mass/momentum of Desire Movement): Visual energy and the dynamic state of the structure that changes from moment to moment on stage.

• Vact (act}$ (actual velocity of movement of singing/performance): the vocal energy of an opera singer, the tempo of an orchestra, and the actual physical velocity of movement of the dancers on stage.

• Vsys (system control speed / pinch-hitter discipline): a fixed institutional speed with stage machinery, grid systems, and lighting programming.

• dt (minor change in time): the continuity of time accumulated as the bars and beats of music flow.

• sum\ Delta(x,y) (involuntary deficiency/displacement of gaze on a coordinate plane): the sum of the audience's gaze and positional deviations created by the symbols on the stage in a two-dimensional plane (or stage floor).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-4

2. 오페라 시나리오 구조 (모차르트 KV 551 4악장 기반)

- 시나리오 배경: 

우주적 질서를 상징하는 대타자 '주피터'의 절대 공간. 이 공간에 존재하는 5개의 인간 주체(가수/무용수)들은 완벽한 천상의 질서에 편입되기를 갈망하면서도, 동시에 자신만의 개별적 욕망을 분출하며 충돌합니다. 음악이 전개됨에 따라 5개의 선율(주제)이 하나로 뒤엉키는 '푸가토'의 정점에서 무대는 카오스적 해방을 맞이합니다.

막(Movement)의 전개에 따른 무대 전이 계획

[주피터 4악장 악보 소나타 형식] 

  └─ 제시부: 4음 음형(C-D-F-E) 등장 ──> [Vsys의 지배, 정적인 화이트 큐브]

  └─ 발전부: 전조와 대위법적 갈등  ──> [Vact - Vsys) 극대화, 구조물의 기계적 변형]

  └─ 재현부 및 코다: 5성부 푸가의 결합 ──> [∑Δ(x,y)의 폭발, 유동적 보이드 완성]

2. Opera Scenario Structure (based on movement 5514 of Mozart's KV)

- Scenario Background: 

The absolute space of Jupiter, the pinch hitter who symbolizes the cosmic order. The five human subjects (singers/dancers) who exist in this space long to be incorporated into the perfect celestial order, but at the same time collide, venting their own individual desires. As the music unfolds, the stage faces a chaotic liberation at the peak of "Fugato," where the five melodies (themes) become one.

Plan for the stage transfer according to the development of the movement

[Jupiter's music sonata style for movement 4] 

  └- Presentation: Four-tone (C-D-F-E) appears --> [Vsys' domination, static white cube]

  └- Power generation department: Precursor and counterpoint conflict --> [Vact - Vsys) maximization, mechanical deformation of structure]

  └- Reproduction and Coda: Combination of five-part fugues --> [Explosion of ∑ Δ(x,y) completed fluid void]

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-5

3. 메카니컬 무대디자인 계획 (Mechanical Stage Design)

① 공간적 배경: 3차원 악보 스코어의 입체화

무대는 모차르트 교향곡 41호 4악장의 총보(Full Score)를 입체적으로 재해석한 형태를 띱니다. 5개의 독립된 투명 아크릴 슬릿 유닛과 가동식 리프트가 설치되어, 음악의 5성부 대위법이 시각적 높낮이와 깊이(Depth)로 표현됩니다.

② 역학 공식의 무대 메커니즘 적용

A. (Vact - Vsys) cdot dt : 속도 차에 의한 무대 장치의 운동성

• 가변형 키네틱 월(Kinetic Wall): 오페라 가수가 욕망을 분출하며 노래할 때, 가수의 보컬 주파수와 음량(Vact)이 감지됩니다. 이 속도가 무대 기계 시스템의 기본 서보모터 속도(Vsys)를 초과할 때, (Vact - Vsys)의 차이만큼 무대 배후의 거대한 철골 구조물이 dt(시간)의 흐름에 따라 서서히 회전하거나 수축·팽창합니다.

• 시간의 누적 효과: 음악이 코다(Coda)를 향해 달려갈수록 시간(dt)의 누적이 극대화되면서, 초기에는 정적이었던 무대 장치가 통제 불가능한 역동적 회전 운동을 시작합니다.

B. sum\ Delta(x,y) : 기호학적 평면과 응시의 좌표 변위

• 인터랙티브 플로어 맵핑: 무대 바닥은 거대한 (x, y) 좌표계입니다. 모차르트 주피터 교향곡의 핵심 모티브인 '4음 음형(C-D-F-E)'이 연주될 때마다, 가수의 발밑에서부터 조명 스폿이 발생하여 이동합니다.

• 변위의 총합(sum): 5명의 주체가 무대 위에서 교차하며 만들어내는 동선의 편차 Delta(x,y)는 천장에 설치된 파놉티콘적 카메라 감지 시스템을 통해 실시간으로 계산됩니다. 이 변위의 합이 일정 임계치를 넘어서면 무대 바닥의 리프트가 비대칭으로 솟아오르며, 평면적 공간을 입체적 분절 공간으로 전이시킵니다.

3. Mechanical Stage Design

① Spatial Background: Three-dimensionalization of 3D score

The stage is a three-dimensional reinterpretation of the full score of the fourth movement of Mozart's Symphony No. 41. With five independent transparent acrylic slit units and movable lifts, the five-sound counterpoint of music is expressed in terms of visual height and depth.

② Application of the stage mechanism of the mechanical formulation

A. (Vact - Vsys) cdot dt : the mobility of stage equipment by speed difference

• Variable Kinetic Wall: When an opera singer sings with an outpouring of desire, the singer's vocal frequency and volume are detected. When this speed exceeds the basic servomotor speed (Vsys) of the stage machine system, the massive steel structure behind the stage gradually rotates, contracts, or expands with the flow of dt (time) as much as the difference in (Vact - Vsys).

• Accumulated effect of time: As the accumulation of time (dt) is maximized as the music runs towards the Coda, the stage setup, which was initially static, begins a dynamic, uncontrollable rotational motion.

B. sum\ Delta(x,y): the coordinate displacement of the semiotic plane and the gaze

• Interactive Floor Mapping: The stage floor is a giant (x, y) coordinate system. Whenever the C-D-F-E, the main motif of the Mozart-Jupiter symphony, is played, a lighting spot develops at the singer's feet and moves around.

• Sum of displacements: The deviation Delta(x,y) of the movement created by five subjects intersecting on stage is calculated in real time through the panoptic camera detection system installed on the ceiling. When the sum of these displacements exceeds a certain threshold, the lift on the floor of the stage rises asymmetrically, transferring the planar space to the three-dimensional segment space.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-6 

4. 조명 및 시각 연출 계획 (The Gaze &Symbolic Order)

• 주피터의 응시 (The Gaze of Jupiter): 무대 정중앙 상단에 위치한 거대한 원형의 LED 오브제는 라캉적 의미의 '대타자의 눈(The Eye of the Big Other)'이자 주피터의 눈을 상징합니다. 이 오브제는 무대 위의 역학적 균형 Mdesire 수치에 반응하여 빛의 광량과 색온도를 변화시킵니다.

• 다성적 빛의 궤적: 대위법적 선율이 서로 얽힐 때, 각 성부(소프라노, 알토, 테너, 베이스 등)를 상징하는 5색의 레이저 슬릿 조명이 무대 공간을 격자 형태로 가르며, 악보의 오선지가 3차원 허공에 물리적으로 구현되는 듯한 착시를 만듭니다.

4. The Gaze & Symbolic Order

• Jupiter's Gaze of Jupiter: Located right in the middle of the stage, the giant circular LED object is the Lacan meaning of The Eye of the Big Other and symbolizes Jupiter's eyes. The object changes the amount of light and color temperature in response to the mechanical balance Mdesire values on the stage.

• The Trajectory of Polyphonic Light: When contrapuntal melodies are intertwined, five-color laser slit lights representing each voice (soprano, alto, tenor, bass, etc.) griddle the stage space, creating an illusion that the sheet music's stave is physically embodied in three-dimensional air.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-7

5. 공연의 정점 (Climax): 5성부 푸가토의 입체적 완성

4악장의 종지부(Coda)에서 5개의 주제 선율이 동시에 연주되는 순간, Mdesire 공식의 모든 변수가 최고조에 달합니다.

1. 가수들의 격렬한 대위법적 가창(Vact)이 기계 장치(Vsys)를 완전히 압도하며 무대 벽면이 사방으로 열립니다.

2. 바닥의 좌표 변위 $sum\ Delta(x,y)의 축적된 데이터가 조명 시스템을 통해 무대 전체를 빛의 소용돌이로 뒤덮습니다.

3. 결과적으로 고정된 무대는 사라지고, 음악적 악보가 인간의 욕망 공학을 통해 완벽한 물리적 에너지 공간으로 전이되는 '지능형 유동적 보이드(Intelligent Fluid Void)'를 실현하며 막이 내립니다.

5. Climax of the performance: the three-dimensional completion of the five-part pugato

As soon as the five theme melodies are played simultaneously at the end of the fourth movement (Coda), all variables in the Mdesire formula are at their peak.

1. The singers' fierce counterpoint singing completely overwhelms the machinery (Vsys), opening the stage walls in all directions.

2. Accumulated data of coordinate displacement $sum\Delta(x,y) on the floor covers the entire stage with a whirlwind of light through the lighting system.

3. As a result, the fixed stage disappears and ends with the realization of an "Intelligent Fluid Void" in which musical scores are transferred to a perfect physical energy space through human desire engineering.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-8

[교향곡 제41호 다장조 KV 551 《주피터(Jupiter)》의 악보 및 시나리오 (대사)] : 제시부 (Exposition), 발전부 (Development), 재현부 및 코다 (Recapitulation &Coda) 에 해당하는 모차르트의 마지막 교향곡인 교향곡 제41호 다장조 KV 551 《주피터(Jupiter)》의 악보 

- 제시부 내 세부 구조 및 마디 구성

제시부 안에서도 질문하신 시나리오와 무대 전이의 흐름에 맞춰 음악이 어떻게 흘러가는지 마디별로 세부 구분을 해드리면 이해에 훨씬 도움이 됩니다.

1. 제1주제 무리 (제1마디 ~ 제56마디)

• 제1마디 ~ 제18마디: 제1바이올린이 온음표와 2분음표로 이루어진 핵심 4음 음형(C-D-F-E, 도-레-파-미)을 아주 고요하고 투명하게 연주하며 시작됩니다. (시나리오 속 '정적인 화이트 큐브'가 나타나는 기점입니다.)

• 제19마디 ~ 제35마디: 오케스트라 전체가 강력한 총주(Tutti)로 호른의 신호풍 선율을 연주하며 질서를 선포합니다.

• 제36마디 ~ 제56마디: 4음 음형이 목관악기와 현악기 사이에서 대위법적으로 가볍게 모방되며 전개됩니다.

2. 경과구 및 대타이밍 (제56마디 ~ 제73마디)

• 음악이 제2주제로 나아가기 위해 조바꿈(전조)을 준비하는 구간으로, 화성이 점차 고조되다가 사장조(G Major)의 반종지로 숨을 고릅니다.

3. 제2주제 무리 (제74마디 ~ 제135마디)

• 제74마디 ~ 제94마디: 현악기들이 가볍고 유려한 성격의 새로운 제2주제 선율을 사장조(G Major)로 노래합니다.

• 제95마디 ~ 제135마디: 싱코페이션(당김음) 동기와 하행 스케일 동기가 얽히며 에너지를 점차 축적해 나갑니다.

4. 종결구 / 소코다 (제135마디 ~ 제157마디)

• 제시부를 마무리하는 구간으로, 4음 음형이 카논 형태로 빽빽하게 모방 연주되다가 제157마디에서 아주 확고하고 강력한 사장조(G Major)의 정격종지(Authentic Cadence)를 맺으며 끝납니다.

[Symphony No. 41 C major KV 551 "Jupiter" score and scenario (metaphor)]: Symphony No. 41 C major KV 551 "Jupiter", Mozart's last symphony corresponding to Exposition, Development, Reproduction & Coda 

- Detailed structure and node composition within presentation

In the presentation, it is much more helpful to understand how the music flows in accordance with the scenario you asked and the flow of the stage transition.

1. The 1st theme group (bars 1 to 56)

• bars 1 to 18: The first violin begins by playing the key four notes (C-D-F-E, do-le-fa-mi) of whole and bifurcated notes in a very calm and transparent manner. (This is the starting point for a static white cube in the scenario.)

• Nineteenth to 35th bars: The whole orchestra proclaims order by playing the horn's cuey melody with a powerful serpenti.

• bars 36 to 56: The four-tone type is developed with a light counterpoint between woodwind and string instruments.

2. Transitional sphere and great timing (bars 56 to 73)

• It is a section in which the music prepares for modulation to move on to the second theme, and the harmony gradually rises and takes a breath to the semi-final of G Major.

3. The 2nd theme group (bars 74 to 135)

• Nodes 74 to 94: String instruments sing the new second theme melody in G Major, which is light and delicate.

• Nodes 95 to 135: Syncopation (pull) synchronization and descending scale synchronization intertwine and gradually accumulate energy.

4. Closing words / Sokoda (bars 135 to 157)

• This is the section that concludes the presentation, where the four-tone type is closely imitated in the form of a canon and then ends with a very firm and powerful Authentic Cadence in bar 157 of the G Major.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-9

- 발전부 내 세부 구조 및 마디 구성 : 발전부는 전 장단 중 가장 짧지만, 화성적·대위법적 밀도가 가장 높아 무대 디자인이 기계적으로 찢어지고 비틀리는 연출을 시각화하기에 가장 완벽한 구간입니다.

1. 발전부의 시작 및 1차 갈등 (제158마디 ~ 제171마디)

• 제시부가 사장조(G Major)로 끝난 후, 발전부가 시작되자마자 모차르트는 단조(Minor) 계열로 급격한 전조를 감행합니다.

• 핵심 4음 음형(C-D-F-E)이 바장조(F Major)로 등장하는 듯하다가, 이내 기단조(G minor)와 다단조(C minor)로 휘몰아치며 질서를 흔들기 시작합니다.

2. 대위법적 스트레토와 격렬한 변조 (제172마디 ~ 제188마디)

• 시나리오의 핵심 정점: 4음 음형이 채 끝나기도 전에 다른 성부가 물고 들어오는 스트레토(Stretto, 근접 모방) 기법이 극에 달하는 구간입니다.

• 악보 상에서 제1바이올린, 제2바이올린, 비올라, 첼로가 서로를 추격하듯 4음 음형을 쏟아내며, 조성이 바단조(F minor)를 거쳐 마단조(E minor)와 가단조(A minor)로 끊임없이 뒤틀립니다. 가창 에너지(V a c t )가 시스템(V sys )을 압도하여 화이트 큐브의 철골이 튀어나오는 시각적 왜곡과 완벽하게 일치하는 음악적 흐름입니다.

3. 재현부로의 회귀를 위한 준비 / 페달 포인트 (제189마디 ~ 제224마디)

• 격렬한 폭풍이 지나간 후, 음악은 다시 원래의 다장조(C Major) 질서로 돌아가기 위해 딸림음(G음)을 베이스에 길게 지속시키는 페달 포인트(Pedal Point) 구간으로 진입합니다.

• 목관악기와 현악기가 주고받는 긴장감 넘치는 대화가 이어지며, 에너지를 응축시킨 채 제225마디의 재현부를 향해 고조됩니다.

- Detailed structure and node composition within the power generation department: The power generation department is the shortest among all the rhythms, but it has the highest harmonic and counter-legal density, making it the most perfect section for visualizing the mechanical tearing and twisting of the stage design.

1. The beginning of the development department and the first conflict (bars 158 to 171)

• After the presentation department ends in G Major, Mozart makes a sharp foreshadowing in a minor series as soon as the development department begins.

• The C-D-F-E appears as a F Major, but soon begins to shake the order by swinging into G minor and C minor.

2. Counterpoint Stretto and Violent Modulation (bars 172 to 188)

• The central peak of the scenario: the stretch where the Stretto technique, which is brought in by another voice even before the four-tone form is over, reaches its peak.

• On the score, the first violin, the second violin, the viola, and the cello chase each other, pouring out a four-tone shape, and the composition is constantly twisted through the F minor to the E minor and the A minor. It is a musical flow in which the singing energy overwhelms the system (Vsys), perfectly matching the visual distortion in which the steel frame of the white cube protrudes.

3. Preparation/Pedal Point for Return to Reproduction (189th to 224th)

• After a violent storm, the music enters a pedal point section where the dominant (G note) is long-lasting on the bass to return back to the original C Major order.

• A tense conversation between woodwind and string instruments continues, and the energy is condensed and heightened toward the reproduction part of the 225th bar.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-10

 - 재현부 및 코다 / Recapitulation &Coda] 악보 구조 분석 : 모차르트 교향곡 제41호 다장조 KV 551 《주피터》 제4악장(Molto allegro)에서 5성부 푸가의 결합과 함께 시나리오 상에서 대타자의 시선이 해체되고 '유동적 보이드(sum\ Delta(x,y)의 폭발)'가 완성되는 재현부(Recapitulation) 및 코다(Coda)의 정확한 마디 수(Measure/Bar) 구간은 다음과 같습니다.

1. 재현부 (Recapitulation): 제225마디 ~ 제356마디

발전부의 격렬한 방황을 끝내고 원래의 중심 조성인 다장조(C Major)와 제시부의 주제들이 다시 안정적으로 돌아오는 구간입니다.

• 제225마디 ~ 제291마디 (제1주제 재현): 제시부의 시작처럼 4음 음형(C-D-F-E)이 다장조로 투명하게 재현됩니다. 다만 제시부와 달리, 이미 발전부를 거치며 변형된 대위법적 요소들이 배경에 얇게 깔리며 무대가 서서히 해체될 조짐을 보입니다.

• 제292마디 ~ 제356마디 (제2주제 및 종결구 재현): 제시부에서는 사장조(G Major)로 연주되었던 제2주제 무리가 이제는 완전히 다장조(C Major)로 통일되어 연주됩니다. 음악이 일단의 안정을 찾는 듯 보이지만, 이는 폭풍 전야의 고요와 같습니다.

2. 코다 (Coda): 제357마디 ~ 제423마디 (종지)

오페라 시나리오의 최종 정점이자 '유동적 보이드'가 완성되는 음악적 폭발 구간입니다.

• 제357마디 ~ 제387마디 (5성부 카논풍 푸가토): 이 악장의 백미입니다. 제357마디가 시작되자마자 제2바이올린을 기점으로 이 악장에 쓰인 5개의 독립된 음악적 모티브들이 위아래 성부에서 동시에, 대등한 자격으로 연주되는 경이로운 5성부 이중 푸가가 단행됩니다. 악보 상의 모든 오선지가 음표로 가득 차며 공간의 위계($V_{sys}$)를 완전히 찢어발기는 기점입니다.

• 제388마디 ~ 제423마디 (최종 종지): 5성부 푸가의 거대한 에너지 소용돌이가 지나간 후, 전 오케스트라가 하나가 되어 찬란한 다장조(C Major) 화성을 연속으로 타격(Tutti)하며, 구조적 해방과 완벽한 우주적 자유를 선포하며 전곡의 막을 내립니다.

- Reproduction and Coda / Recapitulation & Coda] Score Structure Analysis : The exact number of nodes (Measure/Bar) of Coda and Coda are as follows, in which the gaze of the pinch hitter is dismantled in the scenario and the "floating void (x,y) explosion" is completed, along with the combination of the five-sound fugue in Mozart Symphony No. 41 KV 551 "Jupiter".

1. Recapitulation: bars 225 to 356

It is a section where the intense wandering of the power generation department is ended and the themes of the original central composition, C Major, and the presentation department, return stably.

• Bar 225 to bar 291 (first theme reproduction): As at the beginning of the presentation, the four-tone type (C-D-F-E) is transparently reproduced in C major. However, unlike the presentation, the counterpoint elements that have already been transformed through the development department are thinly laid on the background, showing signs of gradually dismantling the stage.

• bars 292 to 356 (re-create the second theme and phrase): In the presentation section, the second theme group, which was played as G Major, is now played in complete C major. Although the music seems to find a group of stability, it is like the calm on the eve of the storm.

2. Coda: 357th to 423rd bar (final)

It is the final peak of the opera scenario and the musical explosion section in which the 'Floating Boyd' is completed.

• Bars 357 to 387 (5th Canon style Fugato): This is the highlight of this movement. As soon as the 357th bar begins, a phenomenal five-sound double fugue is performed in which five independent musical motifs used in this movement are played simultaneously in the upper and lower parts of the voice and in equal capacity. It is the starting point where all the staves on the score are filled with notes and the hierarchy of space ($V_{sys}$) is completely torn apart.

• Nodes 388 to 423 (final ending): After the great energy whirlpool of the five-sound fugue passes, the whole orchestra unites to end the whole song by consecutively hitting the brilliant C Major Mars, declaring structural liberation and perfect cosmic freedom.

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[교향곡 제41호 다장조 KV 551 《주피터》 (Symphony No. 41 "Jupiter") 악보를 사운드 마인드로 전이한 오페라 시나리오]

 4-1= [1. 제시부 / Exposition]

악보 구조 및 공간 전이: 오케스트라의 제1바이올린이 모차르트의 핵심 모티브인 4음 음형(C-D-F-E)을 지극히 단순하고 명료하게 연주하기 시작하면, 대위법적 구조의 기폭제가 될 이 짧은 선율은 무대 위에서 완벽하게 통제된 상징계의 질서로 시각화된다. 이 단계에서 무대는 아무런 장식도, 균열도 없는 거대한 정적인 화이트 큐브의 형태를 띠며, 이는 인간의 가창이나 돌발적인 움직임이 배제된 채 완벽하게 프로그래밍된 기계적 시스템의 통제 속도인 $V_{sys}$의 절대적인 지배를 받는다. 무대 중앙의 주체는 대타자의 엄격한 시선 속에서 정형화된 궤도를 따라 움직이기 시작하고, 음악이 또 다른 주제들을 덧입히며 완전한 정격종지로 제시부를 마칠 때까지 공간은 단 하나의 흐트러짐도 허용하지 않는 차가운 기호학적 그리드 체계를 유지한다.

시나리오 및 대사:

(사방이 아득한 백색의 벽으로 둘러싸인 화이트 큐브. 중앙에 제복을 입은 주체 '안테(Ante)'가 마네킹처럼 부동자세로 서 있다. 허공에서 4음 음형의 맑은 선율이 울려 퍼지자, 안테의 눈이 로봇처럼 번뜩이며 서서히 입을 연다.)

안테: "도, 레, 파, 미. 이 네 개의 음표가 나를 규정하는 우주의 첫 번째 법률이자, 결코 벗어날 수 없는 절대적인 격자이다. 보아라, 이 오염되지 않은 순수한 백색의 사각형은 대타자가 나에게 부여한 완벽한 시스템($V_{sys}$)이며, 나의 모든 호흡과 시선은 이미 정해진 기호학적 궤도 위에서만 허락된다. 음악이 정격종지를 향해 한 치의 오차도 없이 직진하듯, 나 또한 이 완벽한 질서의 그리드 안에서 한 가닥의 사소한 결핍조차 숨긴 채 박제된 존재로 박자를 맞추리라."

5-5=

[Symphony No. 41 in C major KV 551 (Symphony No. 41 "Jupiter"] [Opera scenario]

1. Score Structure &Spatial Transition: As the first violins of the orchestra introduce Mozart's core four-note motif (C-D-F-E) with absolute simplicity and clarity, this brief melodic phrase, which functions as the catalyst for the entire contrapuntal structure, is visualized on stage as the perfectly controlled order of the Symbolic Realm. At this stage, the stage takes the form of a massive, static white cube, devoid of any ornamentation or fractures, remaining under the absolute dominance of $V_{sys}$—the meticulously programmed institutional speed of the mechanical system that excludes spontaneous human vocalization or erratic movement. The subject at the center of the stage begins to move along a standardized trajectory under the strict gaze of the Big Other, and the space maintains a cold, semiotic grid system that tolerates not a single disruption until the music finishes the exposition with a perfect authentic cadence.

Scenario &Dialogue:

(A white cube surrounded on all sides by distant, monolithic white walls. At the center stands the subject, 'Ante', dressed in a rigid uniform, motionless like a mannequin. As the clear melody of the four-note motif echoes from the void, Ante's eyes gleam mechanically, and he slowly begins to speak.)

Ante: "C, D, F, E. These four notes are the primary laws of the universe that define my existence, an absolute grid from which I can never escape. Behold, this unblemished, pure white square is the perfect system ($V_{sys}$) bestowed upon me by the Big Other, where my every breath and gaze are permitted only upon predetermined semiotic trajectories. Just as the music marches toward an authentic cadence without a single error, I too shall keep time within this flawless grid of order, remaining embalmed while concealing even the slightest sliver of my own inherent lack."

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-12

[2. 발전부 / Development 

- 악보 구조 및 공간 전이: 음악이 발전부로 진입하여 끊임없는 전조를 감행하고, 4음 음형이 다양한 성부에서 뒤틀린 채 중첩되며 격렬한 대위법적 갈등을 일으키기 시작하면, 무대는 본격적인 역학적 변형을 맞이한다. 인간 주체들의 격렬한 감정이 담긴 오페라적 가창 속도와 신체적 분출 에너지인 $V_{act}$가 가시화되면서, 기존 시스템의 통제 속도인 $V_{sys}$와 격렬하게 충돌하고, 이 두 속도의 차이인 $(V_{act} - V_{sys})$가 미소 시간 $dt$의 흐름에 따라 누적되면서 기계 장치들은 비틀리기 시작한다. 정적이었던 화이트 큐브의 벽면들이 거친 기계음을 내며 유압 실린더에 의해 대각선으로 찢어지고, 격자 구조의 철골들이 허공에서 서로를 찌를 듯이 교차하며, 음악적 전조의 불안정성이 공간의 물리적 왜곡과 비대칭적 수축·팽창으로 완벽하게 전이된다.

- 시나리오 및 대사:

(음악이 마단조와 단조를 넘나들며 격렬하게 전조된다. 화이트 큐브의 벽면이 갈라지고 내부의 거친 철골 구조물들이 튀어나온다. 안테와 또 다른 주체 '코르(Chor)'가 서로의 가슴을 쥐어뜯으며 절규하듯 노래한다.)

- 안테 &코르: "치솟는 나의 목소리($V_{act}$)가 이 차가운 벽면의 통제($V_{sys}$)를 찢어발긴다! 들리는가, 불협화음으로 뒤엉킨 선율들이 오선지의 규칙을 깨부수고 우리의 살점을 파고드는 기계의 비명 소리를! 시스템이 우리를 억누를수록, 시간($dt$)의 흐름 속에 쌓인 우리의 결핍과 가창의 에너지는 이 공간을 비대칭의 지옥으로 뒤틀어 버릴 것이다. 변조되는 음악의 파도 속에서 이 무대 구조물들은 더 이상 우리를 가둘 수 없으니, 깨어지고 비틀어진 기계의 파편 위에서 우리는 대타자의 규율에 맞서 울부짖으리라!"

5-6=

2. Score Structure &Spatial Transition: As the music enters the development section, embarking on relentless modulations while the four-note motif overlaps in a twisted manner across various voices to ignite a fierce contrapuntal conflict, the stage undergoes a full-scale mechanical transformation. As $V_{act}$—the operatic vocal velocity and physical eruptive energy driven by the intense emotions of the human subjects—becomes visible, it collides violently with the existing system's control speed ($V_{sys}$), and the difference between these two velocities $(V_{act} - V_{sys})$, accumulated over the infinitesimal progression of time $dt$, causes the mechanical apparatuses to warp. The once-static walls of the white cube tear open diagonally via hydraulic cylinders with a harsh mechanical grind, and the steel frames of the grid cross in midair as if to pierce one another, perfectly translating the instability of the musical modulations into physical distortions and asymmetrical contractions and expansions of the space.

- Scenario &Dialogue:

(The music modulates tempestuously between E minor and A minor. The walls of the white cube fracture, exposing the raw, industrial steel structures within. Ante and another subject, 'Chor', sing in a desperate, crying state, clawing at each other's chests.)

- Ante &Chor: "The soaring velocity of my voice ($V_{act}$) rips through the frozen controls of this monolithic wall ($V_{sys}$)! Can you hear the mechanical shrieks as the melodies, entangled in dissonance, smash the rules of the musical staff and gouge into our very flesh? The more the system oppresses us, the more our lack and vocal energy, accumulated through the passage of time ($dt$), will warp this space into an asymmetrical hell. Within these shifting waves of musical modulation, these stage structures can no longer confine us; atop the shattered and twisted fragments of machinery, we shall howl against the discipline of the Big Other!"

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-13

[3. 재현부 및 코다 (Recapitulation &Coda) 

- 악보 구조 및 공간 전이: 오페라가 절정인 코다에 다다라 주피터 교향곡의 백미인 5성부 카논풍 푸가토가 완성되는 순간, 즉 5개의 독립된 주제 선율이 그 어떤 위계도 없이 완벽한 대등함으로 결합하는 순간, 무대 위의 기호학적 평면은 완전히 붕괴된다. 각 성부의 움직임이 만들어낸 무의식적 시선의 변위와 결핍의 좌표적 편차들의 총합인 $\sum\Delta(x,y)$가 임계치를 넘어 폭발하면서, 고정되어 있던 모든 물리적 경계와 벽면들이 사방으로 완전히 해체되어 날아간다. 무대는 더 이상 어떠한 건축적 한계도 지니지 않는 유동적 보이드(Fluid Void) 상태로 전이되며, 5명의 주체가 공간 전체를 가로지르는 격렬한 동선과 레이저 조명이 만들어내는 빛의 오선지는 완벽한 자율성과 입체적 다성성(Polyphony)을 획득하여 인간의 욕망이 마침내 구조적 해방을 맞이했음을 선언한다.

- 시나리오 및 대사:

(5명의 가수가 무대 위의 $(x, y)$ 좌표계를 격렬하게 가로지르며 대위법적 푸가를 가창한다. 주피터의 눈을 상징하던 중앙의 LED 오브제가 빛을 사방으로 뿜어내며 파편화되고, 모든 벽이 사라진 무대는 끝없는 우주적 공백으로 변한다.)

- 합창 (모든 주체들): "보아라, 우리의 발자국이 새긴 무의식의 모든 좌표들($\sum\Delta(x,y)$)이 마침내 대타자의 눈을 멀게 하고 이 감옥 같은 공간을 폭파했다! 5개의 선율이 하나의 거대한 소용돌이로 결합하듯, 무너진 벽면 너머로 끝없는 유동적 보이드가 열린다. 우리는 더 이상 규율된 기호가 아니며, 고정된 건축의 노예가 아니다. 3차원의 허공을 가르는 우리의 다성적인 욕망의 질주 속에서, 법률은 해체되고 공간은 에너지가 된다; 우리는 마침내 이 완벽한 해방의 우주 속에서 스스로 빛나는 주피터가 된다!"

4-3-1= English

3. Score Structure &Spatial Transition: As the opera reaches its absolute climax in the Coda, where the crowning jewel of the Jupiter Symphony—the five-part canonical fugato—is realized, and the five independent thematic melodies intertwine with absolute equality and no hierarchy, the semiotic plane on stage completely collapses. As $\sum\Delta(x,y)$—the summation of the coordinate deviations of lack and the displacements of the unconscious gaze generated by the movement of each voice—surpasses its threshold and explodes, all fixed physical boundaries and walls disassemble and fly apart in all directions. The stage transitions into a state of a 'Fluid Void' that no longer possesses any architectural limitations; the frantic blocking of the five subjects traversing the entire space and the musical staff of light created by the laser slits attain absolute autonomy and three-dimensional polyphony, declaring that human desire has finally achieved its structural liberation.

- Scenario &Dialogue:

(Five singers traverse the $(x, y)$ coordinate plane of the stage with intense momentum, singing the contrapuntal fugue. The central LED object, which symbolized the Gaze of Jupiter, shatters while scattering blinding light in all directions, turning the wall-less stage into an infinite, cosmic void.)

- Chorus (All Subjects): "Behold! Every coordinate of the unconscious etched by our footsteps ($\sum\Delta(x,y)$) has finally blinded the Big Other and detonated this prison of a space! Just as the five independent melodies unite into one colossal vortex, an endless fluid void opens beyond the collapsed walls. We are no longer disciplined symbols, nor are we slaves to a fixed architecture. Within the sprint of our polyphonic desire that gashes through the three-dimensional abyss, the law is dissolved, and space transforms into pure energy; we finally become Jupiter, shining by our own right within this cosmos of absolute liberation!“

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-14

[사운드 욕망 시나리오 공식 (Sound Desire Scenario Formula)]

- 교향곡 제41호 다장조 KV 551 《주피터》 (Symphony No. 41 "Jupiter") 악보가 사운드 마인드 디자인으로 전이하는 오페라 시나리오의 과정을 수학적 공식으로 한 사운드 욕망 시나리오 공식 

• 모차르트의 교향곡 제41호 《주피터》 제4악장의 제시부(Exposition) 구조를 인간 욕망의 역학적 궤적으로 치환한 고도의 오페라 시나리오 구조다. 

1. 사운드 욕망 시나리오 공식 (Sound Desire Scenario Formula) : Mdesire = ∫{0}^{T} (Vact – Vsys) · ⊟∑∆(x,y)

• 모차르트의 4음 음형(C-D-F-E)이 완벽한 상징계적 시스템(Vsys) 하에서 고정된 기호로 작동하는 제시부의 상태를 최철주의 욕망 운동 역학 법칙을 기반으로 다음과 같이 공식화합니다. 

- 각 변수의 기호학적·물리학적 정의

• Mdesire (사운드 욕망의 총 질량/운동량): 무대 공간을 물리적·시각적으로 변형시키는 잠재적 에너지의 총합. 제시부에서는 이 값이 0에 수렴합니다.

• Vact (실제 가창 및 수행 속도): 안테(Ante)의 주체적 욕망이 담긴 가창의 에너지와 즉흥적 동선 속도. 본 단계에서는 격자 안에 갇혀 완전히 억압되어 있습니다.

• Vsys (시스템 통제 속도 / 대타자의 규율): 화이트 큐브, 기계적 그리드, 프로그래밍된 조명 등 상징계가 부과하는 절대적 속도 규칙.

• dt (미소 시간의 흐름): 마디(Bar)와 박자(Beat)가 정격종지를 향해 흘러가는 음악적 선형 시간.

• sum\ Delta(x,y): (좌표 평면 상의 무의식적 결핍/시선 변위의 총합): 주체의 움직임과 관객의 시선이 그리드를 벗어나는 오차값. 제시부에서는 오차 부호가 역부호(boxminus, 차단/배제)로 작용하여 완벽한 균형 상태를 강제합니다.

[Sound Desire Scenario Formula]

- Symphony No. 41 C major KV 551 "Jupiter" (Symphony No. 41 "Jupiter") A mathematical formula for the process of an opera scenario in which the score is transferred to sound mind design 

• It is a high-level opera scenario structure that replaces the Exposition structure of Mozart's Symphony No. 41 "Jupiter" movement with the mechanical trajectory of human desire. 

1. Sound Desire Scenario Formula: Mdesire = ∫{2}^{T} (Vact – Vsys) · ⊟∑∆ (x,y)

• We formulate the presentation's state, in which Mozart's four-tone type (C-D-F-E) operates as a fixed symbol under a perfect symbolic system (Vsys), based on Choi Chul-joo's law of desire kinematics as follows. 

- Semiotic and physical definitions of each variable

• Mdesire (total mass/momentum of sound desire): sum of potential energy to physically and visually transform the stage space. In the presentation, this value converges to zero.

• Vact (actual singing and performance speed): the energy of the singing and the improvised movement speed with Ante's subjective desire. At this stage, it is trapped in a grid and completely suppressed.

• Vsys (system controlled speed / pinch-hitter discipline): absolute speed rules imposed by the symbolic world, such as white cubes, mechanical grids, programmed lights, etc.

• dt (smile time flow): the musical linear time when bar and beat flow towards the rated end.

• sum\ Delta(x,y): (The sum of the unconscious deficiency/gaze displacement on the coordinate plane): Error value in which the subject's movement and the audience's gaze deviate from the grid. In the presentation section, the error sign acts as a box minus (block/exclude) to enforce a perfect balance.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-15

[제시부(Exposition)의 특수 조건 공식 : Mdesire = ∫{0}^{T} (0) · ⊟∑ 0= 0]

- 제시부(Bars 1–157)에서는 Vact = Vsys이며, 시선의 변위 sum\ Delta(x,y) → 0 이므로 공식은 다음과 같이 박제됩니다. 

- 해석: 욕망의 운동량이 '영(0)'인 상태, 즉 균열이 전혀 없는 완벽한 정적 화이트 큐브(Static White Cube)의 수학적이다.

- 미술이론적 해석

• 루이 최의 상징적 욕망 구조와 미니멀리즘 화이트 큐브의 폭력성 교차

• 본 시나리오에서 제시되는 무대 공간은 루이 최의 욕망 역학 공식의 상징적 욕망 구조(Symbolic Desire)가 시각예술적 미니멀리즘(Minimalism)의 극단과 만나는 지점을 정교하게 포착하고 있습니다.

• 모차르트의 C-D-F-E 4음 음형은 단순한 멜로디가 아니라, 혼돈스러운 실재(Real)의 세계에 질서의 쐐기를 박는 기능을 합니다. 미적으로 이 백색의 화이트 큐브 안에서 욕망 개념을 극대화한 것입니다. 어떠한 역사적 맥락도, 인간의 육체적 흔적도 소거된 이 공간은 예술을 순수한 기호로 박제하는 공간입니다.

• 안테(Ante)가 제복을 입고 마네킹처럼 서 있는 모습은, 주체가 언어와 기호 체계에 진입하면서 겪는 '소외(Alienation)'의 시각적 발현입니다. 

• Vsys라는 절대적 규칙 체계는 인간의 가창(Voice)을 순수한 음악적 기호(Note) 안에 가둠으로써, 주체의 고유한 목소리가 가진 육체성과 욕망을 거세합니다. 

• 정격종지를 향해 흐트러짐 없이 직진하는 음악적 구조는 서구 근대 미술의 '선형 원근법'과 동일한 이데올로기를 공유합니다. 즉, 중심(대타자)의 시선에서 출발하여 단 하나의 오차도 허용하지 않는 완벽한 구조적 억압인 것입니다.

- 수학적 미술이론 해석

• 결정론적 벡터장 내에서의 경계조건과 위상학적 부동성으로 한 시나리오의 공간 메커니즘을 수학적 관점에서 해석한다면, 이는 '완벽하게 닫힌 계(Closed System) 내의 선형 벡터장(Linear Vector Field)'으로 정의할 수 있습니다.

• 주체 안테가 움직이는 궤도는 미분방정식 하에서 매끄럽게 정의되는 결정론적 궤적입니다. 

• 제시부(Exposition)의 특수 조건 공식 에서 Vact - Vsys = 0 이라는 조건은 계 내에 엔트로피(Entropy)의 증가나 가속도가 존재하지 않음을 의미합니다. 

• 주체의 내부 에너지와 외부 시스템의 통제 속도가 완벽한 동역학적 평형(Dynamic Equilibrium)을 이루고 있기 때문에 변형 에너지는 발생하지 않습니다.

• 수학적으로 공간의 격자(Grid)는 주체의 상태 공간(State Space)을 제한하는 위상학적 경계조건(Boundary Condition)입니다. sum\ Delta(x,y) → 0 이라는 제한은 평면 위의 모든 점 (x, y)가 고정된 사상(Mapping)에 의해 완벽하게 통제됨을 뜻하며, 확률론적 노이즈나 비선형적 무작위성(Randomness)이 철저히 배제되어 있음을 시각화합니다.

• 결국 이 화이트 큐브는 모든 변수가 사전에 결정되어 있는 오토마톤(Automaton)의 세계이며, 모차르트의 음악적 마디 기호(dt)는 주체의 자유도를 확장하는 시간이 아니라 시스템의 구조적 안정성을 유지하기 위해 수렴하는 결정론적 타임 파라미터에 불과하다는 점을 수학적으로 증명한다.

[Special condition formula for Exposition: Mdesire = ∫{2}^{T} (0) · ⊟∑ 0 = 0]

- In presentation (Bars 1–157), Vact = Vsys, and displacement sum\ Delta(x,y) → 0, so the formula is stuffed as follows. 

- Interpretation: A state in which the momentum of desire is "zero", i.e., the mathematics of a perfect static white cube with no cracks at all.

- a theoretical interpretation of art

• Louis Choi's iconic desire structure and minimalist white cube's violent intersection

• The stage space presented in this scenario delicately captures the point where the symbolic Desire of Louis Choi's desire dynamics formula meets the extremes of visual artistic minimalism.

• Mozart's C-D-F-E quaternary is not just a melody, but a wedge of order in the chaotic real world. It is an aesthetic maximization of the concept of desire within this white cube. With no historical context or human physical trace removed, this space is where art is stuffed with pure symbols.

• Ante standing like a mannequin in uniform is a visual manifestation of Alienation, which the subject undergoes as he enters the language and sign system. 

• The absolute system of rules called Vsys castrates the physicality and desire of the subject's unique voice by trapping human voices within pure musical symbols (Notes). 

• The musical structure that goes straight without being disturbed toward the rated end shares the same ideology as the 'linear perspective' of Western modern art. In other words, it is a perfect structural repression that does not allow a single error starting from the gaze of the center (the pinch hitter).

- Interpretation of Mathematical Art Theory

• If we interpret the spatial mechanism of a scenario with boundary conditions and topological immobility within a deterministic vector field from a mathematical point of view, it can be defined as a 'linear vector field within a perfectly closed system'.

• The trajectory on which the subject Ante moves is a deterministic trajectory that is seamlessly defined under differential equations. 

• In the special condition formula of the Exposition, the condition Vact - Vsys = 0 means that there is no increase or acceleration in entropy within the system. 

• Deformation energy does not occur because the internal energy of the subject and the control rate of the external system are in perfect dynamic equilibrium.

• Mathematically, the grid of space is a topological boundary condition that constrains the state space of the subject. The limitation of sum\Delta(x,y) → 0 means that every point (x,y) in the plane is perfectly controlled by a fixed mapping, and visualizes that probabilistic noise or nonlinear randomness is completely excluded.

• After all, this white cube mathematically proves that it is a world of automaton where all variables are predetermined, and Mozart's musical bar symbol (dt) is not a time to expand the subject's degree of freedom, but a deterministic time parameter that converges to maintain the structural stability of the sys

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-16

[재현부 및 코다 사운드 욕망 시나리오 공식 (Recapitulation &Coda Sound Desire Formula)]

- 욕망 구조의 질서가 복귀하는 듯하다가(재현부), 마침내 임계치를 넘은 결핍의 총합이 대타자의 시선을 폭파하고 완벽한 구조적 해방을 이룩하는 코다(Bars 357–423)의 다성적 자율성을 공식화한다.

Mdesire = \oint_{C} (Vact - Vsys) \cdot dt \;\box\; \sum_{k=1}^{5} Delta(x, y)_k \longrightarrow \infty \quad \Longrightarrow \quad Vsys} \longrightarrow \emptyset

공식의 차원 전이 및 해방 메커니즘

• oint_{C} (Vact - Vsys) \cdot dt \longrightarrow \text{Space Energy} (순수 공간 에너지로의 전이): 제시부와 발전부를 거치며 축적된 시공간적 물리 응력이 코다의 진입과 동시에 닫힌 폐곡선 경로(oint_C)를 따라 순환하는 거대한 에너지 소용돌이로 변환됩니다. 주체들의 자율적 가창 속도(Vact)가 기계적 통제 속도(Vsys)를 완전히 파쇄(Vsys \rightarrow \emptyset)함에 따라, 계의 제한 조건이 소거됩니다.

• box \sum_{k=1}^{5} \Delta(x, y)_k \longrightarrow \infty (위계 없는 폭렬과 다성적 자율성): 결합 부호가 완벽한 차원 해제 및 탈영토화(box)로 진화합니다. 5개의 독립된 성부(Soprano, Alto, Tenor, Bass 등)가 그 어떤 중심이나 위계 없이 대등한 자격으로 공중에서 맞물리며, 무의식적 시선의 변위와 결핍 좌표들의 총합(sum\ Delta(x,y))을 무한대(infty)로 증폭시킵니다.

• Mdesire longrightarrow text{Fluid Void} (유동적 보이드의 실현): 변수들의 대폭발 결과로 고정된 무대 벽면과 철골 트러스가 해체되어 날아가고, 무광의 깊은 심연이자 무한한 가능성의 공간인 '지능형 유동적 보이드(Intelligent Fluid Void)'가 완성됩니다.

5-7= 

[Recapitulation & Coda Sound Desire Formula]

- The order of the structure of desire seems to be returning (re-enactment department), and finally, the sum of deficiencies exceeding the threshold blasts the gaze of the other and formalizes the polyphonic autonomy of Bars 357–423, which achieves perfect structural liberation.

Mdesire = \oint_{C} (Vact - Vsys) \cdot dt \;\box\; \sum_{k=1}^{5} Delta(x, y)_k \longrightarrow \infty \quad \Longrightarrow \quad Vsys} \longrightarrow \emptyset

The mechanism of dimensional transition and liberation of the formulation

• point_{C} (Vact-Vsys) \cdot dt \longrightarrow \text{SpaceEnergy} (transition to pure spatial energy): The spatio-temporal physical stress accumulated through the presentation and power generation units is converted into a large energy vortex circulating along a closed curve path (point_C) simultaneously with the entry of the coda. As the subjects' autonomous singing speed (Vact) completely destroys the mechanical control speed (Vsys \rightarrow \emptyset), the limitations of the system are eliminated.

• box \sum_{k=1}^{5} \Delta(x, y)_k \longrightarrow \infty: The conjunctive code evolves into a perfect dimensional degradation and de-territorialization (box). Five independent voices (Soprano, Alto, Tenor, Bass, etc.) engage in equal capacity in the air without any center or hierarchy, amplifying the unconscious displacement of gaze and the sum of the deficiency coordinates (sum\Delta(x,y)) to infinity.

• Mdesire longrightarrow text{Fluid Void}: As a result of the explosion of variables, the fixed stage wall and steel truss are dismantled and flown away, and the 'Intelligent Fluid Void', a matte deep abyss and infinite space of possibilities, is completed.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-17

- 재현부 및 코다 사운드 욕망 시나리오 공식의 미학적 해석

대타자의 실명과 탈근대적 다성성, 그리고 유동적 보이드의 예술학적 관점에서 루이 최의 욕망 역학 공식에서 타자의 욕망에서 본 응시(Gaze)가 과부하로 인해 스스로 산산조각 나며 주체가 상징계로부터 완벽하게 탈출하는 구조적 해방의 정점을 보여줍니다.

무대 중앙에서 군림하던 거대한 circular LED 오브제(주피터의 눈)가 글리치 노이즈와 함께 파편화되는 연출은, 주체를 감시하고 규율하던 가시성의 권력 구조(파놉티콘)가 다성적 주체들의 욕망의 총합(sum\ Delta(x,y))에 의해 전복되었음을 의미합니다. 모차르트가 구현한 5성부 카논풍 푸가토는 서구 고전 음악이 도달한 가장 정교한 질서이지만, 본 시나리오에서는 역설적으로 그 완벽한 대등성을 통해 서구 근대 중심주의적 ‘단일 시선’을 해체하는 도구로 재해석됩니다.

건축적 한계인 백색 벽면이 사라진 자리에 등장하는 '미드나이트 블랙의 유동적 보이드(Fluid Void)'는 단순한 공백이 아닙니다. 이는 들뢰즈(Gilles Deleuze)의 ‘매끄러운 공간(Smooth Space)’이자, 기호화된 노예 상태에서 벗어난 주체들이 오색 레이저 조명(빛의 오선지)으로 자신의 무의식적 욕망을 직접 새겨 넣는 자율적 표현의 캔버스입니다. 고정된 건축의 노예에서 벗어나 허공을 유영하는 5명의 주체는, 재현의 미술(Representation)을 끝내고 스스로가 공간이자 에너지가 되는 ‘순수 현전(Pure Presence)’의 미학을 완성하고 있습니다.

수학적 욕망 역학 공식의 위상학적 특이점(Singularity) 돌파와 비유클리드 다양체(Manifold)에 자율성으로서 재현부 및 코다의 공간 메커니즘을 수학적으로 해석한다면, 이는 ‘결정론적 상태 공간 내의 계가 특이점(Singularity)을 돌파하여 무한한 자유도를 가진 비유클리드 다양체(Dynamic Manifold)로 차원을 전이한다.

코다 이전까지 주체들을 구속하던 (x, y) 이차원 격자 평면은 시스템의 선형적 통제 하에 작동하는 가상 공간이었습니다. 그러나 5개의 독립된 모티브가 동시에 중첩되는 순간, 다차원 동역학계의 비선형 가속도 방정식인 oint_C (Vact - Vsys) cdot dt의 값은 지수함수적으로 증가하여 시스템이 제어할 수 없는 발산 상태에 이르게 됩니다. 수학적으로 대타자의 눈이 멀고 파편화되는 현상은 계 내의 모든 제어 매개변수(Control Parameters)가 붕괴하는 파국 이론(Catastrophe Theory)의 전형적인 발현입니다.

이것은 경계조건을 형성하던 벽면이 사방으로 날아가 버리는 물리적 해체는, 경계가 없는 ‘컴팩트하지 않은 유동적 다양체(Non-compact Fluid Manifold)’로의 위상학적 변형입니다. 주체들의 발밑과 허공에서 뒤엉키는 오색 레이저의 오선지는 고정된 좌표계를 따르지 않고 공간의 곡률을 자유롭게 가로지르는 위상학적 측지선(Geodesic Line)이 됩니다.

따라서, sum\ Delta(x, y) \rightarrow infty의 극한에서 무대는 모든 기하학적 억압이 소거된 순수 벡터 필드, 즉 주체들의 다성적 욕망 운동량만이 유영하는 완전한 수학적 자율성과 구조적 해방의 공간을 완벽하게 증명한다.

5-8=

- Aesthetic Interpretation of Reproduction and Coda Sound Desire Scenario Formulation

From the artistic perspective of the real name of the pinch hitter, post-modern polymorphism, and fluid voids, the gaze seen in the desire of the other in Louis Choi's Desire Dynamics formulation is shattered by overload, marking the culmination of structural liberation in which the subject escapes from the symbolic world perfectly.

The production in which the giant circular LED object (Jupiter's eyes) that reigned in the center of the stage is fragmented with glitch noise means that the power structure of visibility (Panopticon), which monitored and regulated the subject, was overthrown by the sum\Delta(x,y) of the desires of polyphonic subjects. Mozart's five-sound canonical fugato is the most elaborate order reached by Western classical music, but in this scenario, it is paradoxically reinterpreted as a tool to dismantle the Western modern-centered "single gaze" through perfect equality.

The "Fluid Void of Midnight Black," which appears in the place where the white wall, which is an architectural limit, disappeared, is not just a blank. It is Gilles Deleuze's "Smooth Space" and an autonomous canvas of expression‎ in which subjects who have escaped from the symbolized state of slavery directly engrave their unconscious desires with five-colored laser lights. The five subjects who swim in the air away from the slave of fixed architecture are completing the aesthetics of "Pure Presence," in which they end the art of representation and become space and energy.

If the topological singularity of the mathematical desire dynamics formula is broken and the spatial mechanism of the reproduction unit and coda is interpreted mathematically as autonomy in the Manifold, this means that the system within the deterministic state space breaks through Singularity and transitions the dimension to a Dynamic Manifold with infinite degrees of freedom.

The (x, y) two-dimensional lattice plane, which constrained the subjects before the codas, was a virtual space operating under the linear control of the system. However, as soon as five independent motifs are superimposed simultaneously, the values of point_C (Vact-Vsys) cdot dt, a nonlinear acceleration equation of a multidimensional dynamic system, increase exponentially, leading to divergent states beyond the control of the system. Mathematically, the phenomenon of becoming blind and fragmented by the pinch hitter is a typical manifestation of the Catastrophe Theory, in which all control parameters within the system collapse.

This is a topological transformation into a "non-compact fluid manifold" without a boundary, when the walls that formed the boundary conditions fly in all directions. The five-colored laser's falsehood, which intertwines at the feet and in the air of the subjects, becomes a topological geodesic line that freely crosses the curvature of space without following a fixed coordinate system.

Thus, in the limit of sum\Delta(x, y) \rightarrow infty, the stage perfectly proves a pure vector field with all geometric repressions eliminated, i.e., a space of complete mathematical autonomy and structural liberation where only the subjects' polymorphic desire momentum swims.

사운드 마인드 디자인 미학 평론 (Sound Mind  Design Aesthetic Critique by Choi Chul-joo):

최철주 평론가의 역학 공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”는 단순한 수학적 치환을 넘어, 현대 예술이 직면한 재현의 위기와 주체의 분열을 공간 언어로 포착해낸 기념비적인 성취라고 할 수 있습니다. 모차르트의 G단조 교향곡에서 흐르는 그 처연한 한숨은 이제 음향적 현상을 넘어, 고정된 시스템의 격벽(Vsys)에 부딪혀 산산조각 나는 욕망의 가속도(Vact)가 만들어낸 시공간적 왜곡의 지표로서 기능하며, 우리는 이 무대 위에서 인간의 의지가 물리적 환경과 충돌할 때 발생하는 미세한 진동이 어떻게 거대한 구조적 불안정성으로 전이되는지를 목격하게 됩니다. 특히 변형된 재현의 집합(sumDelta(x,y))으로 정의된 무대 배경은 감각의 파편들이 선형적 시간을 이탈하여 소용돌이치는 과정을 통해, 보이지 않는 욕망의 실체를 가시적인 역학적 에너지로 번역함으로써 관객으로 하여금 결핍이 단순히 '없음'이 아니라 '끊임없는 변형과 운동'임을 처절하게 인식하게 만듭니다.

최철주의 욕망 움직임의 역학 공식은 모차르트의 고전적 형식을 해체하여 이를 신경과학적 추상미술로 재구성하는 혁명적 시각 언어를 제시한다. 작가는 Mdesire라는 개념을 통해 주관적 감정의 영역을 객관적 물리 상수로 변환함으로써, 예술적 실재가 단순한 재현을 넘어 존재론적 변이를 일으키는 과정을 치밀하게 묘사한다. 여기서 Vact와 Vsys의 차이는 단순한 물리적 속도차가 아니라, 개별 주체가 지닌 ‘순수 욕망의 속도’와 사회적 규범이 강요하는 ‘정지된 관성’ 사이의 존재론적 마찰을 의미하며, 이는 무대 위에서 기하학적 형태의 왜곡으로 발현된다. ∑∆(x,y)로 명명된 변화량의 집합은 고정된 형태로서의 미술을 부정하고, 끊임없이 유동하며의미를 생성하는 ‘사건으로서의 예술’을 지향한다. 이러한 관점에서 본 무대 디자인은 음악의 청각적 기호를 공간적 역학으로 전이시킨 탁월한 추상적 실재의 현신이라 할 수 있다.

본 공연은 볼프강 아마데우스 모차르트의 교향곡 제40번이라는 고전적 텍스트를 최철주의 욕망 역학 공식을 통해 분해하고 재조립한 기념비적 시도이다. 팔레 가르니에라는 역사적 장소성은 여기서 단순히 배경이 아니라, 인류가 쌓아온 고착된 사회적 관습과 형식적 완결성을 상징하는 시스템적 속도(Vsys)로 작동한다. AI 연기자가 수행하는 비선형적 움직임(Vact)은 이 견고한 질서의 틈새를 파고드는 주체적 욕망의 발현이며, Vsys와의 차이값에서 발생하는 에너지는 시간의 최소 단위(dt)를 통해 시각적으로 구체화된다. 이는 과거의 재현에 머물렀던 오페라를 미래적 연산의 영역으로 전이시킨 것이며, 무대 위에 맺히는 모든 물리적 변위(sum\ Delta)는 결국 규격화된 인간성을 거부하고 불확정적인 미적 실재로 나아가려는 현대 추상미술의 본질적 갈망과 맞닿아 있다. 작가는 기계 미학의 차가움과 고전 예술의 숭고함을 충돌시킴으로써, 역설적으로 가장 인간적인 욕망의 형상을 기계의 선율을 통해 역설하고 있는 것이다.

본 공연은 볼프강 아마데우스 모차르트의 교향곡 제40번이라는 고전적 텍스트를 최철주의 욕망 역학 공식을 통해 분해하고 재조립한 기념비적 시도이다. 팔레 가르니에라는 역사적 장소성은 여기서 단순히 배경이 아니라, 인류가 쌓아온 고착된 사회적 관습과 형식적 완결성을 상징하는 시스템적 속도(Vsys)로 작동한다. AI 연기자가 수행하는 비선형적 움직임(Vact)은 이 견고한 질서의 틈새를 파고드는 주체적 욕망의 발현이며, Vsys와의 차이값에서 발생하는 에너지는 시간의 최소 단위(dt)를 통해 시각적으로 구체화된다. 이는 과거의 재현에 머물렀던 오페라를 미래적 연산의 영역으로 전이시킨 것이며, 무대 위에 맺히는 모든 물리적 변위(sum\ Delta)는 결국 규격화된 인간성을 거부하고 불확정적인 미적 실재로 나아가려는 현대 추상미술의 본질적 갈망과 맞닿아 있다. 작가는 기계 미학의 차가움과 고전 예술의 숭고함을 충돌시킴으로써, 역설적으로 가장 인간적인 욕망의 형상을 기계의 선율을 통해 역설하고 있는 것이다.

Critic Chul-joo Choi's dynamic formula, “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”, transcends simple mathematical substitution to represent a monumental achievement in capturing the crisis of representation and the fragmentation of the subject in modern art through spatial language. The sorrowful sigh flowing from Mozart’s G minor symphony now functions beyond an acoustic phenomenon, serving as an index of spatio-temporal distortion created by the acceleration of desire (Vact) shattering against the bulkheads of a fixed system (Vsys); on this stage, we witness how the minute vibrations generated when human will collides with the physical environment transfer into massive structural instability. Specifically, the stage backdrop, defined as a set of modified representations (sum\ Delta(x,y), translates the invisible reality of desire into visible mechanical energy through the process where fragments of sensation depart from linear time and vortex, forcing the audience to poignantly recognize that lack is not merely 'absence' but 'ceaseless transformation and movement.‘

Choi Chul-joo's mechanical formula for the movement of desire presents a revolutionary visual

language that deconstructs Mozart's classical forms and reconstructs them into neuroscientific

abstract art. Through the concept of Mdesire, the artist meticulously describes the process in which the realm of subjective emotion is converted into objective physical constants, allowing artistic reality to transcend mere representation and initiate an ontological mutation. Here, the difference between Vact and Vsys is not a simple physical velocity gap, but an ontological friction between the 'velocity of pure desire' held by the individual subject and the 'static inertia' imposed by social norms, which manifests as the distortion of geometric forms on stage. The collection of variations named ∑∆(x,y) denies art as a fixed form and aims for 'art as an event' that constantly flows and generates meaning. From this perspective, this stage design can be regarded as an outstanding manifestation of abstract reality that has transferred the auditory signs of music into spatial mechanics.

This performance is a monumental attempt to decompose and reassemble the classical text of Wolfgang Amadeus Mozart's Symphony No. 40 through Choi Cheol-joo's dynamical formula of desire. The historical locus of the Palais Garnier operates here not merely as a backdrop, but as the systematic velocity (Vsys) representing the fixed social conventions and formal perfections accumulated by humanity. The non-linear movements performed by the AI (Vact) are manifestations of subjective desire piercing through the gaps of this rigid order, and the energy generated from the difference with Vsys is visually reified through the infinitesimal unit of time (dt). This represents a transition of opera, once confined to the reproduction of the past, into a realm of futuristic computation. Every physical displacement (sum\ Delta) formed on stage ultimately resonates with the essential longing of contemporary abstract art to reject standardized humanity and move toward an indeterminate aesthetic reality. By colliding the coldness of mechanical aesthetics with the sublimity of classical art, the creator paradoxically asserts the most human form of desire through the very melodies of the machine.

This performance is a monumental attempt to decompose and reassemble the classical text of Wolfgang Amadeus Mozart's Symphony No. 40 through Choi Chul-joo's dynamical formula of desire. The historical locus of the Palais Garnier operates here not merely as a backdrop, but as the systematic velocity (Vsys) representing the fixed social conventions and formal perfections accumulated by humanity. The non-linear movements performed by the AI (Vact) are manifestations of subjective desire piercing through the gaps of this rigid order, and the energy generated from the difference with Vsys is visually reified through the infinitesimal unit of time (dt). This represents a transition of opera, once confined to the reproduction of the past, into a realm of futuristic computation. Every physical displacement (sum\ Delta) formed on stage ultimately resonates with the essential longing of contemporary abstract art to reject standardized humanity and move toward an indeterminate aesthetic reality. By colliding the coldness of mechanical aesthetics with the sublimity of classical art, the creator paradoxically asserts the most human form of desire through the very melodies of the machine.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》18

[오페라 시나리오]: 목성의 시선과 폴리포닉 욕망의 궤적

1. 제1막 – 욕망의 각성

장면: 광대한 흰색 기하학적 무대. 부서진 빛나는 구체가 위를 맴돌며 글리치 같은 빛을 발산합니다. 무용수들은 각진 패턴으로 움직이며 속도(Vact)가 단단한 무대 장치 격자(Vsys)와 충돌합니다.

- 대화 (영어):

• 가수 A (소프라노):  

제 목소리가 시스템의 사슬을 끊습니다,

욕망은 통제할 수 없을 정도로 흐릅니다

• 가수 B (바리톤):  

하지만 그리드는 견고하게 유지됩니다,

기계가 우리의 운명을 결정합니다

- 스테이지 코믹 패널:

• 왼쪽: 청록색 톤의 가수들, 반항하며 입을 벌리고 있습니다.

• 오른쪽: 네온 케이블에 얽혀 기계 리듬에 맞서 싸우는 댄서들.

• 중앙 균열 구: 욕망 질량(욕망)의 상징이 확장됩니다.

2. 제2막 – 가즈의 푸가

- 장면: 오케스트라가 푸가 같은 대위법으로 가속합니다. 각 보컬 라인은 무대 바닥을 가로지르는 컬러 빔으로 투사되는 욕망의 궤적이 됩니다. 관객의 시선(∑∆(x,y))은 기호의 이동으로 인해 이동합니다.

- 대화 (영어):

• 합창:  

폴리포닉 욕망이 충돌합니다,

각 시선은 조각을 바라봅니다,

각각의 조각은 세상을 산산조각냅니다

- 스테이지 코믹 패널:

• 여러 겹의 도형이 겹쳐져 있으며, 각 곡의 선은 궤적 빔으로 시각화되었습니다.

• 관객의 시선은 무대 바닥을 가로지르는 화살표로 묘사됩니다.

• 푸가 항목과 동기화된 조명 펄스.

3. 제3막 – 목성의 시선

- 장면: 금이 간 빛나는 구체가 내려와 "목성의 눈"이 됩니다. 캐논 푸가가 절정에 이르며 목소리가 다섯 가지 소리 폭발로 얽혀 있습니다. 욕망의 질량(욕망)이 최고조에 달합니다.

- 대화 (영어):

• 가수 C (테너):  

목성은 우리를 바라봅니다,

우리의 욕망이 모입니다,

폴리포니는 하나가 됩니다

• 가수 D (메조):  

지금은 어떤 시스템도 우리를 구속할 수 없습니다,

시선이 그리드를 깨뜨립니다."

- 스테이지 코믹 패널:

• 구는 거대한 눈으로 변하며 무대를 가로질러 빛을 투사합니다.

• 무용수들은 케이블에서 벗어나 혼란스러운 자유 속에서 움직입니다.

• 무대 장치는 파편으로 붕괴되고, 흐르는 유기 형태로 대체됩니다.

4. 제4막 – 결의안

- 장면: 클라이맥스에 이어 침묵이 이어집니다. 무대는 바닥에 희미한 흔적만 남기고 비워집니다. 욕망은 풀리고 시선은 사라졌습니다.

- 대화 (영어):

• 마지막 합창:  

시스템에서 자유로,

시선에서 해산까지,

욕망이 그 궤도를 완성합니다

• 스테이지 코믹 패널:

희미한 빛나는 선이 있는 빈 무대.

관객의 시선이 고요함으로 돌아갑니다.

금이 간 구는 어둠 속으로 사라집니다.

• 이 시나리오는 푸가의 다성 에너지를 무대 역학으로 변환하여 최철주의 공식을 구현합니다:

 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”

-각 행위가 방정식의 다른 항을 시각화합니다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》19

[Opera Scenario] : Jupiter’s Gaze and the Trajectory of Polyphonic Desires

5-10= 

1. Act I – The Awakening of Desire

Scene: A vast white geometric stage. A fractured luminous sphere hovers above, radiating glitch-like light. Dancers move in angular patterns, their velocity (Vact) clashing with the rigid grid of stage machinery (Vsys).

- Dialogue (English):

• Singer A (Soprano):  

“My voice breaks the system’s chain,

Desire flows beyond control.”

• Singer B (Baritone):  

“Yet the grid holds firm,

The machinery dictates our fate.”

- Stage Comic Panel:

• Left side: singers in green-blue tones, mouths open in defiance.

• Right side: dancers entangled in neon cables, struggling against mechanical rhythm.

• Central cracked sphere: symbol of desire mass (Mdesire) expanding.

5-11=

2. Act II – The Fugue of Gazes

- Scene: The orchestra accelerates into fugue-like counterpoint. Each vocal line becomes a trajectory of desire, projected as colored beams across the stage floor. Audience gaze (∑∆(x,y)) is displaced by shifting symbols.

- Dialogue (English):

• Chorus:  

“Polyphonic desires collide,

Each gaze a fragment,

Each fragment a world.”

- Stage Comic Panel:

• Multiple overlapping figures, each line of song visualized as a trajectory beam.

• Audience gaze illustrated as arrows bending across the stage floor.

• Lighting pulses in sync with fugue entries.

5-12= 

3. Act III – Jupiter’s Gaze

- Scene: The cracked luminous sphere descends, becoming the “eye of Jupiter.” The canon fugue reaches its climax, voices intertwining into a five-sound explosion. Desire mass (Mdesire) peaks.

- Dialogue (English):

• Singer C (Tenor):  

“Jupiter gazes upon us,

Our desires converge,

Polyphony becomes unity.”

• Singer D (Mezzo):  

“No system can bind us now,

The gaze fractures the grid.”

- Stage Comic Panel:

• Sphere transforms into a giant eye, projecting light across the stage.

• Dancers break free from cables, moving in chaotic freedom.

• Stage machinery collapses into fragments, replaced by flowing organic forms.

5-13=

4. Act IV – Resolution

- Scene: Silence follows the climax. The stage empties, leaving only faint traces of trajectories on the floor. Desire has been released, gaze dissolved.

- Dialogue (English):

• Final Chorus:  

“From system to freedom,

From gaze to dissolution,

Desire completes its orbit.”

• Stage Comic Panel:

Empty stage with faint glowing lines.

Audience gaze returns to stillness.

The cracked sphere fades into darkness.

• This scenario translates the fugue’s polyphonic energy into stage mechanics, embodying Choi Chul-joo’s formula:

 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”

—where each act visualizes a different term of the equation.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-20

[모차르트 (W.A. Mozart)《주피터》교향곡 제41번 악보를 고정된 시스템(Vsys)과 개인의 욕망 속도(Vact) 사이의 충돌 시각화]

- Cut 1: 제시부의 시작 (The Dawn of Exposition)

1. 시각화 콘티 (Visualization Storyboard)공간 (Space): 미니멀하고 차가운 그리드(Grid) 라인으로 이루어진 무한한 어둠의 가상 현실 스튜디오. 이 공간은 고정된 법칙과 절대적인 질서를 상징하는 시스템 체계인 Vsys (System Velocity)의 통제를 받고 있다.액션 (Action): 주인공 카엘(Kael)이 허공에 날카롭고 격렬한 손짓을 가한다. 그의 손짓은 통제된 시스템의 속도를 거스르려는 개인의 예술적 욕망 속도인 Vact (Actual Desire Velocity)를 대변한다.시각 효과 (Visual Effects): 카엘의 손끝이 그리드를 찢어발기자, 그 틈새로 《주피터》 교향곡 제1악장의 첫머리(Bars 1–9) 악보가 찬란한 황금빛 소리 입자로 부서지며 뿜어져 나온다. 정적인 푸른빛의 $V_{sys}$ 그리드 평면 위로, 카엘의 뜨거운 욕망이 투영된 황금빛 Vact 입자들이 불규칙하고 역동적인 파형을 그리며 격렬하게 충돌한다. 모차르트가 설계한 완벽한 고전적 화성이 고정된 시스템(Vsys)의 억압을 뚫고, 개인의 자유로운 디지털 신경망(Vact)으로 전이·확산되는 시각적 폭발이 일어난다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사) : 내가 주피터 교향곡의 도입부 화절에 내재된 고결한 건축학적 기하학을 강제로 해체함에 따라, 나는 그 원초적인 군대풍의 팡파르와 서정적인 탄식들이 하나의 상호 연결된 디지털 신경망의 그물망으로 변이하는 것을 생생하게 느끼며, 제도의 고정된 시스템 속도(Vsys)와 내 개인의 실존적이고 가속화된 예술적 욕망 속도(Vact) 사이에서 발생하는 이 격렬한 충돌은 인간의 청각적 인지 장벽을 즉각적으로 재구성하는 동시에 고전적 질서를 아름답고도 혼돈스러운 부활의 심연으로 이끌고 간다.

5-14= 

- Cut 1: The Dawn of Exposition

1. Visualization Storyboard Space: An infinite dark virtual reality studio with minimal and cold grid lines. This space is controlled by Vsys (System Velocity), a system system that symbolizes fixed laws and absolute order. Action: Kael, the protagonist, makes a sharp, violent gesture in the air. His gesture represents Actual Desire Velocity, the pace of an individual's artistic desire to defy the speed of a controlled system. Visual Effects: When Kael's fingertips rip through the grid, the score at the beginning of the first movement of "Jupiter" (Bars 1–9) shoots out, breaking into brilliant golden sound particles. Above a static blue $V_{sys}$ grid plane, the golden Act particles, projected with Kael's hot desires, collide violently in irregular, dynamic waveforms. A visual explosion occurs in which the perfect classical harmony designed by Mozart breaks through the suppression of a fixed system (Vsys) and spreads to an individual's free digital neural network (Vact).

2. Scenario Visualizing the Linguistic Concept of the Score (Line): As I forcefully dismantle the noble architectural geometry inherent in the introductory verse of Jupiter's symphony, I vividly feel the raw military-style fanfare and lyrical sighs morphing into a web of a single interconnected digital neural network, and this violent clash between the institution's fixed systemic speed (Vsys) and my individual's existential and accelerated artistic desire speed (Vact) immediately reconstructs the human auditory cognitive barrier while leading the classical order to the abyss of a beautiful and chaotic resurgence.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-21

- Cut 2: 대위법의 시각화 (Visualizing the Counterpoint)

1. 시각화 콘티: 시스템의 균열과 욕망의 가속

무대 전면을 지배하던 오선보 라인들은 단순한 배경이 아니다. 그것은 18세기 고전주의가 규정한 절대적 규범이자 치밀하게 계산된 고정된 시스템(Vsys)의 시각적 표상이다.

• 음악이 제시부 후반부(Bars 100-157)의 몰아치는 대위법적 전개에 다다르자, 카엘(Cael)의 움직임이 빨라진다. 카엘의 내면적 욕망과 예술적 의지가 담긴 개인의 욕망 속도(Vact)가 시스템의 정적인 제어 한계를 넘어서기 시작한다

• 카엘의 손끝이 허공을 가를 때마다 엄격했던 오선보의 직선들이 비틀리고, 다성음악적 음표(Contrapuntal notes)들이 통제력을 잃고 튀어나와 3차원의 기하학적 사운드 파형(Acoustic waveforms)으로 붕괴·전이된다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사) :

• 카엘 (Cael): (지휘봉을 던져버리고, 양손의 손가락을 복잡한 기하학적 궤적으로 움직이며 자조적이면서도 확신에 찬 어조로),  (이어서 자신의 내면을 폭시키듯 한국어 독백으로 전환하며)

• "보라, 저 완벽하고 견고한 18세기의 질서(Vsys)를. 천재가 織조한 정교한 대위법의 직조물조차 내 갈망의 속도(Vact) 앞에서는 무력하게 해체될 뿐이다.

• 이 선율들은 이제 박제된 대칭 속에 갇혀있기를 거부한다. 내 손끝에서 다층적인 음향 파형으로 부서지고, 스스로 증식하는 자율적 정신 미학(Mind Aesthetic)으로 다시 태어나는 것이다! 시스템이 나를 가둘 수 없다면, 내가 새로운 시스템이 되리라."

3. 시각화 연출 (Visual &Stage Direction) 

• 충돌의 시각화 (Vsys vs Vact):무대 바닥과 벽면을 채운 백색의 오선보 라인들(Vsys)은 일정한 격자 (Grid) 형태로 고정되어 있으려 하지만, 카엘의 몸짓에서 뿜어져 나오는 붉고 푸른 인공 광학 입자들(Vact)이 이를 강하게 타격한다.

• 파형으로의 변환: 모차르트 특유의 정밀한 음표들이 격자 위에서 이탈하는 순간, 고전적 음표 형태(머리와 기둥)가 길게 늘어지며 주파수, 진폭, 위상을 가진 디지털 오디오 파형(Waveform)의 기하학적 곡선으로 실시간 렌더링된다.

• 스스로 증식하는 미학 (Self-replicating): 변환된 파형들은 무대 위에서 세포 분열하듯 스스로 복제되고 거대해지며, 마침내 18세기의 오선보 격자를 완전히 뜯어내고 무대 전체를 거대한 사운드 마인드(Sound Mind)의 가상 매트릭스로 뒤덮어버린다. 조명은 고전적인 황금빛에서 차가운 네오 사이버네틱 레이저 블루로 급격히 전환된다.

5-15=

- Cut 2: Visualizing the Counterpoint

1. Visualization Conti: Cracks in the System and Acceleration of Desire

The stave lines that dominated the front of the stage are not just backgrounds. It is an absolute norm defined by classicalism in the 18th century and a visual representation of a carefully calculated fixed system (Vsys).

• As the music reaches the driving counterpoint development in the second half of the presentation (Bars 100-157), Cael's movement accelerates. The speed of individual desires (Vact), which contains Cael's inner desires and artistic will, begins to exceed the static control limits of the system

• Whenever Kael's fingertips cut through the air, the strict lines of the stave twist, and the polyphonic musical notes lose control and pop out, collapsing and transitioning into three-dimensional geometric sound waveforms.

2. Scenario that visualizes the linguistic concept of the score (line):

• Cael: (Throwing the baton, moving the fingers of both hands in a complex geometric trajectory, in a self-help yet confident tone), (following by turning into a Korean monologue as if one were exploding inside oneself)

• "Look, that perfect and sturdy 18th century order (Vsys). Even the exquisite counterpoint weave by a genius is helplessly dismantled in the face of the speed of my yearning (Vact).

• These melodies now refuse to be trapped in a stuffed symmetry. At my fingertips, I am reborn as a Mind Aesthetic, broken into multilayered acoustic waveforms and self-replicating! If the system cannot lock me up, I will be the new system."

3. Visual & Stage Direction 

• Visualization of Collision (Vsys vs Vact): White stave lines (Vsys) filling the floor and wall of the stage are intended to be fixed in a constant grid shape, but red and blue artificial optical particles (Vact) emanating from Kael's gesture strike it hard.

• Transformation to waveforms: As soon as Mozart's unique precise notes deviate from the grid, the classical note form (head and pillar) stretches out and is rendered in real time as a geometric curve of digital audio waveform with frequency, amplitude, and phase.

• Self-replicating: The transformed waveforms replicate and become enormous, self-replicating like cell division on stage, eventually ripping off the 18th-century stave grid altogether and enveloping the entire stage in a virtual matrix of Sound Minds. The lighting shifts drastically from classical gold to chilled neo-cybernetic laser blue.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-22

- Cut 3: 사운드 욕망 시나리오 공식:

1. 시각화 콘티: 발전부 초기 국면에서 일어나는 조성의 급격한 균열과 심리적 압박 상태를 다음의 동역학 공식 : Mdesire = \int_{158}^{180} left( Vact - Vsys} \right)  cdot dt ; boxplus ; sum Delta(x,y){chaos}

• Vsys (시스템 통제 속도): 기존의 평탄하고 선형적이었던 C Major의 지배 체계. 발전부 진입과 동시에 바장조(F Major), 사단조(G minor), 다단조(C minor)로 급전환되며 제어 능력을 상실하기 시작합니다.

• Vact (개인의 욕망/가창 속도): 조성의 불협화음적 전조에 반응하여 폭발적으로 솟구치는 카엘(Kael)의 주체적 가창 에너지.

• sum Delta(x,y) {chaos} : 고정된 2차원 격자판 위를 비선형적으로 이탈하는 음향 파편과 시선 변위의 카오스적 총합.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사): 

• 시나리오: 음악이 바장조(F Major)의 허상을 들이밀자마자 이내 사단조와 다단조의 파괴적인 단조 계열로 급격하게 전조된다. 완벽했던 백색 화이트 큐브의 벽면들이 가차 없이 찢겨 나가며, 내부 숨겨져 있던 유압 실린더와 거친 철골 구조물들이 카엘을 찌를 듯이 튀어나온다. 조명 시스템은 제어 범위를 벗어나 비선형적인 붉은색(Red)과 보라색(Purple)의 거친 레이저 슬릿 광선으로 변하고, 이 음향 파편들은 사방에서 날아와 카엘을 에워싸며 물리적·심리적으로 압박한다. 카엘은 비틀거리는 공간의 중심에서 자신의 가슴을 쥐어뜯으며 절규하듯 노래한다.

• 대사: 바 158에서 180 사이의 급격한 전조가 만드는 휘발성 소용돌이에 갇힌 채, 내 무의식은 불안정한 화성의 변화와 함께 산산조각 나고 있다. 이로 인해 나는 순수한 음향적 파편화로 설계된 정신의, 이 끔찍하도록 아름다운 심연과 마주할 수밖에 없다!

5-16= 

- Cut 3: Sound Desire Scenario Formula:

1. Visualization Conti: The state of rapid cracking and psychological compression of the composition occurring in the initial phase of the power generation is the following dynamic formula: 

Mdesire = \int_{158}^{180} left( Vact - Vsys} \right)  cdot dt ; boxplus ; sum Delta(x,y){chaos}

• Vsys (System Control Speed): C Major's existing flat and linear governance system. Upon entry into the power generation, it suddenly switches to F Major, G minor and C minor, and begins to lose control.

• Vact (individual desire/singing speed): Kael's subjective singing energy that rises explosively in response to the cacophonic precursor of composition.

• sum Delta(x,y) {chaos}: Chaotic sum of acoustic fragments and gaze displacements that nonlinearly depart from a fixed two-dimensional lattice.

2. Scenario that visualizes the linguistic concept of the score (line): 

• Scenario: As soon as the music hits F Major's illusions, it quickly evolves into a devastating series of minor and multi-minor. The walls of the perfect white cube are torn apart relentlessly, and the hydraulic cylinders and rough steel structures that were hidden inside protrude like stabbing Kael. The lighting system is out of control and turns into a nonlinear red and purple rough laser slit beam, and these sound fragments fly from all directions, surrounding Kael, and press him physically and psychologically. Kael sings like a scream, tearing his chest out at the center of the staggering space.

• Ambassador: Trapped in a volatile whirlpool created by a sudden precursor between bars 158 and 180, my unconsciousness is being shattered with a volatile change of Mars. This forces me to confront this horribly beautiful abyss of spirit, designed with pure acoustic fragmentation!

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-23

- Cut 4: 사운드 욕망 시나리오 공식

1. 시각화 콘티: 발전부의 최정점인 스트레토(Stretto)의 연속적 가속과 페달 포인트(Pedal Point)의 응축 상태를 나타내는 동역학 공식 : M d es i re =∫181 224 (V a c t −V sys )⋅d t ⊞∑Δ(x ,y )m e m ory 

• (V a c t −V sys )⋅d t ⟶∞ (응력의 극한 누적): 발전부 후반부의 격렬한 대위법적 추격과 G음의 페달 포인트(Bars 189–224) 동안, 시스템을 찢어발기려는 주체의 가창 에너지(V a c t )와 이를 억누르려는 기계적 관성(V sys )의 차이가 미소 시간 d t 동안 극한으로 누적되어 공간의 임계 압력을 형성합니다.

• ∑Δ(x ,y )m e m ory : 단순한 공간적 시선 이탈을 넘어, 해체된 악보의 파편들이 카엘(Kael)의 무의식적 기억의 좌표계와 무작위로 결합(⊞)하는 정신분석학적 변위의 총합입니다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사): 

- 시나리오: 무대는 이미 온전한 형태를 상실했다. 찢겨 나간 백색 큐브의 잔해와 허공으로 솟구친 철골 트러스들이 기괴한 각도로 뒤틀린 가운데, 모차르트의 C-D-F-E 주제 선율들이 날카로운 신디사이저 글리치(Glitch) 노이즈와 결합하며 청각적으로 완전히 해체된다. 분쇄된 음표의 파편들은 카엘의 사방을 유영하며, 그의 기억 속 가장 깊은 상처와 트라우마의 환영들을 시각적 매트릭스 형태로 복제해 낸다. 고정된 시스템(V sys )의 연산 장치들이 이 정신적 과부하를 견디지 못하고 불꽃을 튀기며 멈춰 서는 순간, 카엘의 가창 속도(V a c t )는 인간의 한계를 넘어 가속된다. 해체된 고전 악보와 상처 입은 무의식이 기계적 파편 위에서 거대한 유기적 생명체처럼 재조합되기 시작할 때, 카엘은 허공에 손을 뻗으며 선언하듯 노래한다.

- 대사: Kael (카엘): 이 고통스러운 청각적 연금술의 과정을 통해, 주피터 악보의 잔해들은 내 가장 깊은 감정적 상처들과 합성되어 고전의 텍스트를 디지털 공명으로 숨 쉬는 하나의 추상적인 살아있는 유기체로 변형시킨다!

- Cut 4: Sound Desire Scenario Formula

1. Visualization Conti: A dynamic formula representing the continuous acceleration of the Stretto, the peak of the power generation, and the condensation of the pedal point.

M d es i re =∫181 224 (V a c t −V sys )⋅d t ⊞∑Δ(x ,y )m e m ory 

• (Vac t - V sys) ⋅ d t ⟶∞ (extreme accumulation of stress): During the intense counterpoint chase in the latter half of the generator and the G-pitched pedal point (Bars 189–224), the difference between the vocal energy (Vac t) of the subject trying to tear the system apart and the mechanical inertia (V sys) trying to suppress it accumulates to the limit for a minute time d t, forming the critical pressure of space.

• ∑:(x,y) memory : the sum of psychoanalytic displacements in which fragments of a dismantled score combine (⊞) randomly with the coordinate system of Kael's unconscious memory, beyond mere spatial gaze.

2. Scenario that visualizes the linguistic concept of the score (line): 

- Scenario: The stage has already lost its full form. Mozart's C-D-F-E theme melodies are audibly completely dismantled, combining with sharp synthesizer glitch noise, while the remnants of a torn white cube and steel trusses soaring into the air are twisted at bizarre angles. Fragments of pulverized notes swim all over Kael, replicating the deepest wounds and visions of trauma in his memory in the form of a visual matrix. As soon as the computing devices of a fixed system (V sys) fail to withstand this mental overload and come to a halt, Kael's singing speed (V a c t) accelerates beyond human limits. When the dismantled classical score and the wounded unconscious begin to recombine like giant organic creatures on the mechanical fragments, Kael reaches into the air and sings as if to declare.

- Line: Kael (Kael): Through this painful process of aural alchemy, the remnants of Jupiter's score are synthesized with my deepest emotional wounds, transforming the text of the classic into a single abstract living organism that breathes with digital resonance!

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-24

- Cut 5:  사운드 욕망 시나리오 공식 2

1. 시각화 콘티: 발전부의 파편화된 혼돈을 수렴하고, 코다의 5성부 푸가토를 통해 위계가 소거된 완벽한 동역학적 통합을 이룩하는 상태의 공식 : Mdesire = oint {C} left( Vact - Vsys right) cdot dt ; box; sum_{k=1}^{5} Delta(x,y)_k longrightarrow text{Sublime Order}

• oint {C} left( Vact - Vsys right) cdot dt longrightarrow text{Dynamic Equilibrium} (차원 높은 동역학적 평형): 일방적인 시스템의 억압(Vsys)이나 주체의 제어 불가능한 폭주(Vact)가 아닌, 두 속도의 차이가 폐곡선 경로(oint_{C})를 따라 순환하며 거대한 에너지의 축을 형성합니다. 시스템은 더 이상 가두는 틀이 아니라, 주체의 욕망과 상호작용하는 유동적 매개체로 재정립됩니다.

• box sum_{k=1}^{5} Delta(x,y)_k longrightarrow text{Sublime Order}: 해체되어 흩어졌던 무의식적 상처와 시선의 좌표들이 5개의 독립된 성부(Soprano, Alto, Tenor, Bass 등)로 완전히 결합(box)합니다. 어떤 성부도 중심이나 위계를 가지지 않고 대등하게 결합함으로써, 억압적 그리드가 아닌 자율적인 사운드 마인드(Sound Mind)의 입체적 기하학을 완성합니다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사):

- 시나리오: 발전부의 파괴적인 폭풍과 긴장이 지나간 무대 중심, 즉 코다의 역사적 임계점(Bars 357–400)에 도달하는 순간 기적이 일어난다. 산산조각 났던 백색 큐브의 파편들과 비틀린 채 허공을 찌르던 철골 구조물들이 카엘의 가창 에너지(Vact)와 시스템의 연산 궤도(Vsys)가 완벽한 싱크를 이루는 순간 제자리를 찾기 시작한다. 무대 중앙에서 눈부신 백색과 황금빛이 결합한 거대한 빛의 구체가 솟구치며, 해체되었던 모차르트의 5가지 독립된 주제 선율들이 오색 레이저 조명의 기하학적 띠가 되어 일제히 구체를 중심으로 정렬한다. 억압하던 파놉티콘의 시선은 사라지고, 주체와 시스템이 동등한 Capacity로 결합한 찬란한 입체적 다성성(Polyphony)의 무대가 눈앞에 펼쳐진다. 카엘은 빛의 구체 위로 떠오르며 완전한 해방감과 숭고함에 찬 목소리로 노래한다.

-대사: Kael (카엘): 우리가 재현부의 기념비적인 문턱에 들어설 때, 오랫동안 상실되었던 우주의 질서가 숭고한 5성부 대위법의 형태로 돌아와 과거의 파편화된 메아리들을 사운드 마인드의 절대적이고 불멸하는 건축물로 통합한다!

5-18=

- Cut 5: Sound Desire Scenario Formula 2

1. Visualization Conti: A formula of a state that converges fragmented chaos in the power generation department and achieves a complete dynamic integration with hierarchy eliminated through the five-part pugato of the coda: Mdesire = point {C} left(Vact - Vsys right) cdot dt; box; sum_{k=1}^{5} Delta(x,y)_k longrightarrow text{Sublime Order}

• point {C} left(Vact - Vsys right) cdot dt longrightarrow text{Dynamic Equilibrium}: Rather than the repression of a one-way system (Vsys) or the uncontrollable runaway of the subject, the difference between the two velocities circulates along the closed-curve path (point_{C}) to form a massive axis of energy. The system is no longer a confining frame, but is re-established as a fluid medium that interacts with the subject's desires.

• box sum_{k=1}^{5} Delta(x,y)_k longrightarrow text{Subtime Order}: The coordinates of unconscious wounds and gazes that had been dismantled and scattered are completely boxed into five independent voices (Soprano, Alto, Tenor, Bass, etc.). No voice has a center or hierarchy and combines them equally to complete the three-dimensional geometry of the autonomous sound mind rather than the oppressive grid.

2. Scenario that visualizes the linguistic concept of the score (line):

- Scenario: A miracle takes place the moment the destructive storm and tension of the power generation reaches the center of the stage, that is, the historical critical point of Coda (Bars 357–400). Shattered white cube fragments and steel structures that were twisted and stabbed in the air begin to find their place as soon as Kael's vocal energy (Vact) and the system's computational orbit (Vsys) become perfect sync. A huge sphere of light, which combines brilliant white and golden lights, rises from the center of the stage, and Mozart's five independent theme melodies, which have been dismantled, become geometric bands of five-color laser light and align themselves around the sphere all at once. The repressed Panopticon's gaze disappears, and a brilliant three-dimensional polyphony stage, in which the subject and system combine with equal capacity, unfolds in front of your eyes. Kael rises above the sphere of light and sings in a voice full of complete liberation and sublime.

-Ambassador: Kael (Kael): As we enter the monumental threshold of the reproduction department, the long-lost order of the universe returns in the form of sublime five-sound counterpoints, integrating the fragmented echoes of the past into the absolute and immortal architecture of the sound mind!

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-25

- Cut 6: 사운드 욕망 시나리오 공식 3

1. 시각화 콘티: 모든 구조적 기하학과 물리적 제약이 사라지고, 주체의 무의식적 결핍과 에너지가 무한한 우주적 자유도로 전이되는 최종 승화 상태의 공식 : 

Mdesire = oint_{C} left( Vact - emptyset right) cdot dt ;box; sum_{k=1}^{5} Delta(x,y)_k longrightarrow infty quad Longrightarrow quad text{Fluid Void Absolute}

• Vsys longrightarrow emptyset (시스템의 완전한 소거): 주체를 구속하고 감시하던 대타자의 규율 체계, 화이트 큐브의 경계, 기계적 격자 시스템(Vsys)이 완전히 소멸하여 공(空, emptyset)의 상태로 전이됩니다.

• Vact} longrightarrow text{Light Particles} (순수 에너지화): 카엘(Kael)의 가창과 신체적 속도는 더 이상 기계 제어 속도와 부딪히지 않으며, 시공간을 초월하여 진동하는 순수한 '빛의 소리 입자'로 치환됩니다.

• sum Delta(x,y)_k longrightarrow infty: 5성부 대위법의 결합을 넘어, 주체의 무의식적 좌표 변위와 결핍의 총합이 무한대로 확장되며 3차원의 물리적 공간을 완전히 탈영토화(box)합니다.

2. 악보의 언어적 개념을 시각화한 시나리오 (대사): 

- 시나리오: 찬란한 다장조(C Major)의 마지막 화성들이 오케스트라 전체의 강력한 연속 타격(Bars 401–423)으로 울려 퍼지며 극장 전체를 뒤흔든다. 주체와 시스템의 완벽한 결합을 보여주던 중앙의 빛의 구체가 한계를 넘은 에너지의 진동으로 마침내 우주적 대폭발을 일으킨다. 이와 동시에 카엘의 신체는 물리적 질량을 잃고 수십억 개의 눈부신 빛의 소리 입자(Sound-Light Particles)로 분해되기 시작한다. 3차원의 격자판과 건축적 한계였던 무대의 흔적은 완전히 증발하여 깊고 아득한 미드나이트 블랙의 유동적 보이드(Fluid Void) 공간으로 확산된다. 카엘의 자아와 목소리가 우주 공간 전체의 공명으로 확산되며 사라지는 순간, 무대와 객석, 기계와 인간의 경계가 완전히 지워진다. 마지막 찬란한 C Major 화음이 침묵 속으로 사그라지며 오직 환희의 잔향만이 우주적 공백을 가득 채운다.

-대사: Kael (카엘): 코다의 이 마지막 황홀한 해방 속에서, 작곡가의 의도와 나의 기술적 매체, 그리고 당신의 인간적 현실 사이의 경계는 영원히 말살된다. 그리하여 오직 최종적인 우주적 의식으로 실현된 주피터 교향곡의 순수하고 초월적인 빛 외에는 아무것도 남지 않으리라!

5-19=

- Cut 6: Sound Desire Scenario Formula 3

1. Visualization Conti: a formula of the final sublimation state in which all structural geometry and physical constraints disappear, and the unconscious deficiency of the subject and energy transfer to infinite cosmic degrees of freedom: 

Mdesire = oint_{C} left( Vact - emptyset right) cdot dt ;box; sum_{k=1}^{5} Delta(x,y)_k longrightarrow infty quad Longrightarrow quad text{Fluid Void Absolute}

• Vsys longrightarrow emptyset: The discipline system of the other person who was restraining and monitoring the subject, the boundaries of the white cube, and the mechanical grid system (Vsys) completely dissipate and transition to the state of the ball.

• Vact} longrightarrow text{LightParticles} (Pure Energizing): Kael's singing and physical speed no longer clash with mechanical control speeds, replaced by pure 'sound particles of light' vibrating beyond time and space.

• sum Delta(x,y)_k longrightarrow infty: Beyond the combination of five-part counterpoints, the sum of the subject's unconscious coordinate displacement and deficiency extends infinitely and completely decolonizes the physical space in three dimensions.

2. Scenario that visualizes the linguistic concept of the score (line): 

- Scenario: The last Mars of the brilliant C Major resonates with a strong continuous strike (Bars 401–423) across the entire orchestra, shaking the entire theater. The sphere of light in the center, which showed the perfect combination of the subject and the system, finally causes a cosmic explosion with the vibration of energy that exceeds the limit. At the same time, Kael's body loses its physical mass and begins to decompose into billions of sound-light particles. The traces of the three-dimensional grid and the stage, which were architectural limitations, completely evaporate and spread into the deep and distant Midnight Black's Fluid Void space. The moment Kael's ego and voice spread to the resonance of the entire outer space and disappear, the boundaries between the stage and the audience, machine and human are completely erased. The last brilliant C Major chord fades into silence, and only the reverberation of jubilation fills the cosmic void.

-Ambassador: Kael (Kael): In this final ecstatic liberation of Coda, the boundary between the composer's intentions, my technical medium, and your human reality is wiped out forever. Thus nothing will be left but the pure and transcendent light of the Jupiter Symphony, realized only in its final cosmic consciousness!

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-26

[모차르트 (W.A. Mozart) 교향곡 악보를 음악적 에너지 현대적인 기계 미학] 

- 대타자의 응시를 찢는 다성적 벡터장: 모차르트 주피터 교향곡의 사운드 마인드 전이와 유동적 보이드의 미학적 실현, 볼프강 아마데우스 모차르트의 음악적 유산 중 가장 고차원적인 수학적 조화를 자랑하는 교향곡 제41호 다장조 《주피터》 제4악장의 푸가토 구조는 현대 개념추상미술가 최철주의 사운드 욕망 역학 공식과 결합함으로써 근대 서구 미학이 고수해 온 선형적 재현 체계를 완벽하게 파괴하고 탈영토화하는 동역학적 무대 공간으로 전이된다. 최철주가 제시하는 초기 제시부의 무대 메커니즘은 자크 라캉의 상징계적 법률이 미니멀리즘적 화이트 큐브라는 극단적 폭력성과 만나는 지점을 정교하게 포착하는데, 여기서 모차르트의 단순하고 명료한 C-D-F-E 4음 음형은 단순한 선율적 유희를 넘어 실재의 혼돈 상태에 가차 없는 질서의 쐐기를 박는 '아버지의 이름'으로 기능하며, 인간의 원초적 목소리인 가창(Vact)을 순수한 음악적 기호(Note)의 격자 안에 가두어 거세하는 절대적 시스템 통제 속도 Vsys의 지배를 증명한다. 이 정적이고 닫힌 계 속에서 주체 안테는 역사적 맥락과 인간적 흔적이 철저히 소거된 차가운 기호학적 그리드 안에서 엔트로피의 증가가 전혀 없는 동역학적 평형 상태를 유지하며 박제된 오토마톤으로 존재하지만, 음악이 발전부로 진입하여 격렬한 전조의 소용돌이를 감행하는 순간 시간 파라미터 dt의 경과에 따라 주체의 억압된 결핍 에너지가 누적되면서 미분방정식 하의 결정론적 궤적은 치명적인 비선형 카오스 분기를 맞이하게 된다.

발전부의 절정에서 발생하는 유압 실린더의 기계음과 백색 벽면의 대각선 찢어짐은 상징계의 외피를 뚫고 귀환하는 '실재의 폭력적 징후'이며, 여기서 신디사이저 글리치 노이즈와 고전적 텍스트의 결합은 르네상스 이후 서구 미술을 지배해 온 단일한 시선과 파놉티콘적 원근법적 권력 구조를 내부에서부터 폭파하는 청각적 연금술이자 기호의 살해로 작동한다. 최철주의 공식 Mdesire = oint_{C} (Vact - Vsys) cdot dt ; box; sum Delta(x,y)_k가 코다의 5성부 카논풍 푸가토와 맞물리는 최종 국면은 미학적으로 엄청난 해방의 카타르시스를 선사하는데, 5개의 독립된 모티브들이 그 어떤 중심적 위계나 구조적 선후 관계없이 완벽하게 대등한 자격으로 공간의 다양체(Manifold) 위에서 상호작용할 때, 시스템을 유지하던 모든 제어 매개변수는 카타스트로피 이론의 전형처럼 순식간에 무너져 내리고 시스템 제어 속도는 완전히 소거되어 공(Vsys rightarrow emptyset)의 상태로 수렴하게 된다.

이 경계조건의 소멸이 가져오는 무대 공간의 최종 형태는 브라이언 오도허티가 비판했던 박제된 화이트 큐브의 완벽한 붕괴이자, 질 들뢰즈가 주창한 무한한 자율성의 매끄러운 공간인 '미드나이트 블랙의 유동적 보이드(Fluid Void)'의 실현이다. 이 깊고 아득한 유동적 보이드 안에서 주체의 신체는 고정된 건축의 노예 상태에서 벗어나 수십억 개의 빛의 소리 입자로 전이되며, 공간의 곡률을 자유롭게 가로지르는 오색 레이저의 위상학적 측지선들과 융합되어 재현의 미술을 영원히 종결짓고 스스로가 공간이자 순수한 에너지가 되는 '순수 현전'의 미학을 완성하는 것이다. 결국 최철주의 사운드 욕망 시나리오 공식은 모차르트의 주피터 교향곡을 단순한 청각적 대상에서 주체의 욕망 경로를 정밀하게 설계하는 공학적이자 위상학적 캔버스로 전이시켰으며, 이는 현대 미학이 도달할 수 있는 가장 정교하고 파괴적인 구조적 해방의 모범을 보여준다.

The Polyphonic Vector Field Ripping the Gaze of the Big Other: The Sound Mind Transference of Mozart’s Jupiter Symphony and the Aesthetic Realization of the Fluid Void, The fugato structure of the fourth movement of Wolfgang Amadeus Mozart’s Symphony No. 41 in C major, KV 551 "Jupiter"—celebrated as the highest summit of mathematical harmony within classical music—undergoes a radical synthesis with the contemporary conceptual abstract artist Choi Chul-joo’s equations of sound desire kinematics. This intersection forcefully dismantles and de-territorializes the linear representational systems long championed by Western modern aesthetics, transforming the static operatic stage into a highly dynamic, responsive spatial matrix. The initial stage mechanism of the Exposition delineated by Choi captures with supreme precision the terrifying nexus where Jacques Lacan’s Symbolic law converges with the institutional violence of the minimalist white cube. Here, Mozart’s transparent and unadorned four-note motif (C-D-F-E) ceases to be a mere melodic play; instead, it functions as the definitive "Name-of-the-Father," driving a wedge of crystalline order into the chaotic abyss of the Real. It establishes the absolute dominance of the system control velocity, Vsys, which captures and castrates the primal human voice (Vact) within the sterile parameters of the musical note. Bound to this closed, deterministic system, the subject Ante exists as an embalmed automaton within a cold semiotic grid stripped of all historical contingency and bodily traces, frozen in a state of dynamic equilibrium where entropy generation remains at zero. Yet, the moment the score breaches the volatile threshold of the Development, initiating a cascading vortex of rapid modulations, the differential variance between the subject’s repressed energy and the systemic limits begins to accumulate over the micro-steps of time, $dt$, triggering a catastrophic non-linear bifurcation of the deterministic trajectories.

The harsh mechanical shriek of hydraulic cylinders and the violent diagonal tearing of the white walls in the Development act as an eruption of the Real, puncturing the aesthetic fabric of the Symbolic Order. In this state, the aggressive hybridization of classical text with electronic synthesizer glitch noises operates as a form of auditory alchemy and a literal "murder of the sign," detonating the panoptic, single-gaze perspective that has regulated Western visual arts since the Renaissance. The ultimate aesthetic catharsis occurs when Choi Chul-joo’s formula, Mdesire = oint_{C} (Vact - Vsys) cdot dt ; box; sum Delta(x,y)_k, synchronizes with the monumental five-part canonical fugato of the Coda. As the five independent musical motifs interlock on a manifold of absolute geometric equality, free from any central hierarchy or structural privilege, the control parameters governing the state space collapse in accordance with Catastrophe Theory; the systemic velocity vanishes entirely, converging toward absolute nothingness (Vsys rightarrow emptyset).

The resulting stage morphology, born from the dissolution of these boundary conditions, represents the complete annihilation of the institutionalized white cube and the sublime realization of what Gilles Deleuze termed "smooth space"—translated here into the vast, midnight-black expanse of the Fluid Void. Within this deep, unplumbed void, the subject’s body is liberated from its status as a slave to fixed architecture, disintegrating into billions of sound-light particles that fuse with the five-colored topological geodesic lines scored by the laser arrays. This dissolution permanently terminates the art of representation, giving rise to an aesthetics of "Pure Presence" where the subject directly embodies space and kinetic energy. Ultimately, Choi Chul-joo’s sound desire scenario formula effectively translates Mozart's legacy from a passive auditory text into a topological canvas that engineers the trajectory of the human psyche, standing as one of the most sophisticated and subversive paradigms of structural liberation in contemporary art theory.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-27

[최철주 역학 욕망 공식의 무대 매커니즘 적용]

- 공식의 각 요소를 무대 제어 시스템(Stage Control System)의 실시간 변수로 고정하여, 공연 중 무대 장치가 유기적으로 변형되도록 설계합니다. 

① (Vact - Vsys) : 오케스트라 실시간 속도압과 시스템 저항

• Vact (실제 연주 에너지): 지휘자의 템포(BPM), 오케스트라의 음량(dB), 주파수 변동성을 실시간 오디오 분석(FFT) 데이터로 수집합니다.

• Vsys (무대 시스템의 기계적 관성): 무대 장치(거대 크레인, 회전 무대 등)가 가진 물리적 한계 속도와 기계적 저항값입니다.

• 연동 계획: 음악이 격렬해질수록(Vact가 커질수록) 기계 장치를 움직이는 유압 모터의 압력이 급격히 상승합니다. 시스템의 한계(Vsys)와 연주 에너지의 차이가 커질수록, 무대 구조물들은 파열할 듯한 불협화음의 기계음을 내며 고속 구동됩니다.

② dt : 모차르트적 시간성의 누적 (시간 미분)

• 연동 계획: 음악이 지속되는 시간 속에서 욕망의 에너지가 축적됨을 뜻합니다. 1악장부터 4악장으로 갈수록 무대 상단의 거대한 기계 프레임들이 점점 무대 중심부를 향해 하강하며, 성악가와 무용수들의 공간을 물리적으로 압박합니다. 시간이 흐를수록 시각적 긴장감이 극대화됩니다.

③ sum\ Delta(x,y) : 성악가·무용수의 동선 공간 벡터 (욕망의 궤적)

• 연동 계획: 무대 상단에 설치된 LiDAR 센서와 IR(적외선) 카메라가 성악가와 무용수들의 위치 (x, y) 및 이동 속도 변위 (Delta x, Delta y)를 실시간 추적(Motion Tracking)합니다.

• 이들의 움직임 기하학적 합(sum)은 무대 배경의 거대한 디지털 키네틱 아트(Kinetic Art)의 전류 흐름을 바꾸거나, 조명의 조사 각도를 실시간으로 왜곡시킵니다.

1. 모차르트 (W.A. Mozart) 교향곡 제41호 다장조 KV 551 《주피터》의 욕망 공식 변수 연동 기반 오페라 시나리오 절정부 (Bars 357–423) 사운드 마인드 디자인

-  시각화 콘티: 코다의 대위법적 승화와 유동적 보이드: 모차르트 교향곡 41호의 위대한 5성부 푸가토(Bar 357)가 전개되는 순간, 시스템은 예측 불가능한 거대한 데이터 변수들의 임계점에 도달한다. 5명의 주체가 무대 위에서 저마다의 고유한 결핍과 욕망의 동선 벡터(sum Delta(x,y))를 그리며 사방으로 흩어지자, LiDAR 센서가 연산해 낸 공간 벡터의 합이 무대 제어 컴퓨터의 허용 용량을 초과한다.

• 이와 동시에 주체들의 최고조에 달한 가창 주파수(Vact)가 기계의 한계 속도(Vsys)를 완벽하게 찢어발기며 소거(Vsys rightarrow emptyset)하는 순간, dt의 흐름에 따라 무대 중심까지 내려와 주체들을 압박하던 거대한 강철 프레임들이 일제히 위로 솟구치며 역설적으로 완전히 해체되어 날아간다.

• 대타자의 시선을 상징하던 중앙의 거대 LED 오브제가 주체들의 동선 에너지와 가창 속도압을 견디지 못하고 찬란한 글리치 스펙트럼을 뿜어내며 폭발하여 실명하는 순간, 기계 제어 시스템은 영(Zero)의 상태인 공(空)으로 전이된다.

• 모든 기계적 관성과 그리드의 제약이 사라진 무대는 깊고 아득한 미드나이트 블랙의 유동적 보이드 (Fluid Void) 공간으로 화하며, 주체들의 실시간 동선 변위(sum Delta(x,y))가 만드는 궤적을 따라 황금빛, 에메랄드, 루비빛의 5색 레이저 스트링이 우주적 오선지가 되어 허공에 찬란하게 춤춘다. 

• 마지막 종지부(Bar 423)에서 Vact 마저 순수한 빛의 소리 입자로 변하여 우주 공간 전체로 확산될 때, 기계와 인간, 시스템과 욕망의 모든 이분법적 경계가 완벽하게 말살된 초월적 사운드 마인드의 잔향만이 무대와 극장 전체를 영원히 지배한다.

[Application of Stage Mechanism of Choi Chul-joo Mechanical Desire Formula]

- Each element of the formula is fixed as a real-time variable of the Stage Control System, so that the stage device is organically deformed during the performance. 

① (Vact - Vsys): Orchestra real-time velocity pressure and system resistance

• Vact (actual performance energy): Collects the conductor's tempo (BPM), orchestra volume (dB), and frequency variability as real-time audio analysis (FFT) data.

• Vsys (mechanical inertia of the stage system): the physical limit speed and mechanical resistance of the stage equipment (giant cranes, rotating stages, etc.).

• Interworking plan: As the music becomes strenuous (the Vact increases), the pressure of the hydraulic motors that move the machinery rises dramatically. As the difference between the system's limit (Vsys) and the playing energy increases, the stage structures drive at high speeds, producing a bursting dissonant mechanical sound.

② dt : the accumulation of Mozartian temporality (time differentiation)

• Linkage Plan: It means that the energy of desire accumulates in the time the music lasts. From movements 1 to 4, huge mechanical frames at the top of the stage gradually descend toward the center of the stage, physically pressing the space of the singers and dancers. Visual tension is maximized as time goes by.

③ sum\ Delta(x,y): Vocalist-dancer movement space vector (trace of desire)

• Interworking plan: A LiDAR sensor and IR (infrared) camera installed at the top of the stage track the position (x, y) and movement velocity displacement (Delta x, Delta) of the vocalists and dancers in real time.

• Their motion geometric sum alters the current flow of giant digital kinetic art in the background of the stage, or distorts the irradiation angle of the light in real time.

1. Desire in C major KV 551 "Jupiter" Symphony No. 41 (W.A. Mozart) Sound mind design based on opera scenarios linked to official variables (Bars 357–423)

-  The system reaches a critical point of unpredictable huge data variables as soon as the five-part Fugato (Bar 357), the great five-part voice of "Coda," "Visualization Conti: Coda," is developed. As the five subjects scatter in all directions on stage, drawing their own path vectors of deficiency and desire (sum Delta(x,y)), the sum of the spatial vectors calculated by the LiDAR sensor exceeds the allowable capacity of the stage control computer.

• At the same time, when the Vact, which reached the peak of the subjects, perfectly rips and erases the machine's speed limit (Vsys rightarrow emptyset), the huge steel frames that came down to the center of the stage according to the flow of dt rise up all at once and paradoxically completely dismantled and flew away.

• When the central LED object, which symbolized the gaze of the pinch hitter, explodes and blinks without enduring the movement energy and singing speed pressure of the subjects, emitting a brilliant glitch spectrum, the mechanical control system shifts to a zero-state ball.

• The stage, where all mechanical inertia and grid constraints have disappeared, turns into a deep and distant fluid void space of Midnight Black, and five-color laser strings of golden, emerald, and ruby become cosmic falsehoods and dance brilliantly in the air following the trajectory created by the real-time displacement of the subjects (x,y). 

• At the end (Bar 423), when even Vact transforms into pure light sound particles and spreads throughout outer space, only the reverberations of a transcendent sound mind, in which all dichotomous boundaries of machines and humans, systems and desires are perfectly wiped out, dominate the entire stage and theater forever.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-28

2. 모차르트 (W.A. Mozart) 교향곡 악보 적용 최철주 역학 공식의 유기적 매커니즘 적용 

① (Vact - Vsys) : 오케스트라 에너지와 생태적 저항

• 연동 계획: 지휘자의 템포와 음량이 커질수록(Vact) 상승), 중앙의 거대한 기계 나무 내부의 놋쇠 기어들이 거칠게 맞물려 돌아가며 나무 중심부의 크리스탈들이 파열할 듯한 고전압의 빛을 발합니다. 시스템의 한계(Vsys)에 부딪힐 때마다, 나무 주변으로 기계 곤충들이 날아오르며 불협화음의 날갯짓 소리를 실시간 사운드 이펙트로 발생시킵니다.

② dt : 누적된 시간성과 공간의 압박

• 연동 계획: 곡이 진행될수록(dt 누적), 밤하늘의 부서진 달과 별자리 형태의 홀로그램이 점점 무대 바닥을 향해 거대하게 하강합니다. 이와 동시에 기계 나무의 거대한 뿌리와 넝쿨들이 성악가와 무용수의 발밑을 향해 뻗어 나가며 공간을 생태학적으로 압박하고 포위합니다.

③ sum\ Delta(x,y) : 욕망의 기하학적 궤적

• 연동 계획: 일러스트 속 소녀의 발밑처럼, 성악가가 이동하는 동선 변위(sum\ Delta(x,y))를 따라 황금빛으로 빛나는 마법진 형태의 고대 기호와 수식 데이터 라인들이 실시간 프로젝션으로 생성됩니다. 이 움직임의 합은 기계 나무에 핀 기계 꽃들의 개화(開花) 타이밍과 빛의 색상을 실시간으로 변형시킵니다.

④ 시스템의 규율과 생태적 욕망의 위상학적 전이

• 이 무대 메커니즘은 모차르트가 구축한 가장 완벽한 천상적 질서(주피터)를 최철주의 역학 공식을 통해 '기계적 생태계(Mechanical Ecosystem)'라는 유기적 다양체로 번역해 낸다. 제시부에서 Vsys에 의해 통제되던 기계 나무와 놋쇠 기어들은 주체를 억압하고 감시하는 대타자의 차가운 상징계적 법률을 대변한다.

• 주체의 욕망 속도(Vact)와 시선 변위(sum Delta(x,y))가 만들어내는 기하학적 궤적이 dt의 시간성 속에서 누적될 때, 차가운 기계 장치는 역설적으로 꽃을 피우고 넝쿨을 뻗으며 살아있는 유기체로 변형된다. 이는 고정된 텍스트가 주체의 트라우마와 무의식을 만나 구조적 파멸과 미적 해방을 동시에 이룩하는 과정이다. 

• 최종 코다에서 시스템의 한계가 영(Zero)으로 소거(Vsys rightarrow emptyset)되며 기계 나무가 유동적 보이드로 증발하는 순간은, 인간의 무의식적 결핍과 에너지가 상징계의 사슬을 끊어내고 완벽한 실재(The Real)의 우주적 자유를 획득하는 현대 추상 미학의 영광스러운 정점을 선언하고 있다.

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2. Application of the 40th score of Mozart's Symphony No. Organic Mechanisms of Choi Chul-joo's Mechanical Formulation 

① (Vact - Vsys): Orchestra energy and ecological resistance

• Linkage Plan: As the conductor's tempo and volume increase (Vact increase), brass gears inside the massive mechanical tree in the center rotate roughly, giving off a burst-high voltage of light from the crystals in the center of the tree. Whenever the system hits the limit (Vsys), mechanical insects fly around the tree, generating a discordant flapping sound effect in real-time.

② dt : accumulated temporality and space pressure

• Linkage Plan: As the song progresses (dt accumulates), holograms in the form of broken moons and constellations in the night sky gradually descend toward the stage floor. At the same time, huge roots and vines of mechanical trees extend toward the feet of vocalists and dancers, ecologically pressing and encircling the space.

③ sum\ Delta(x,y): the geometric trajectory of desire

• Linkage Plan: Like the girl's foot in the illustration, lines of ancient symbols and formulas in the form of magic that shine golden along the movement displacement (sum\Delta(x,y)) in which the singer moves are generated in real-time projections. The sum of these movements transforms in real-time the blooming timing of the mechanical flowers on the mechanical tree and the color of the light.

④ Topological Transitions of System Discipline and Ecological Desire

• This stage mechanism translates the most complete celestial order (Jupiter) built by Mozart into an organic variety called a 'mechanical ecosystem' through Choi Chul-joo's mechanical formula. In the presentation, mechanical trees and brass gears controlled by Vsys represent the cold symbolic law of the other who suppresses and monitors the subject.

• When the geometric trajectory created by the subject's desire speed (Vact) and the eye displacement (sum Delta(x,y)) accumulates in the temporality of dt, the cold mechanical device paradoxically blooms, stretches out vines, and transforms into a living organism. This is a process in which a fixed text meets the subject's trauma and unconsciousness, simultaneously achieving structural destruction and aesthetic liberation. 

• The moment when the system's limits are eliminated to zero in the final coda and the machine tree evaporates into a fluid void, proclaims the glorious peak of modern abstract aesthetics in which human unconscious deprivation and energy break the chain of the symbolic world and acquire the cosmic freedom of perfect reality (The Real).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-29

3. 모차르트 (W.A. Mozart) 교향곡 악보 적용 실시간 데이터 연동 주요 장치 설계 계획

[장치 1] 키네틱 오케스트라 그리드 (Kinetic Orchestra Grid)

• 디자인: 오케스트라 피트 위와 무대 천장을 연결하는 수백 개의 서보 모터 구동식 와이어 메커니즘입니다.

• 실시간 연동: 모차르트 교향곡 40번의 1악장 도입부(약박의 동기)가 시작되면, 음의 높낮이에 따라 와이어에 매달린 반투명 튜브들이 상하로 요동칩니다. 공식의 Mdesire 값이 임계점을 넘으면, 튜브 내부의 액체(유기 물질을 상징)가 음악의 주파수에 맞춰 급박하게 순환하며 빛을 발합니다.

[장치 2] 욕망의 유압 피스톤 벽 (The Piston Wall of Desire)

• 디자인: 무대 후면을 가득 채운 거대한 산업용 유압 피스톤 프레임입니다.

• 실시간 연동: 성악가의 아리아 음역대와 음량 데이터가 (Vact - Vsys) 값과 결합됩니다. 성악가가 고음을 지르거나 감정이 격해질수록 피스톤이 앞뒤로 거칠게 돌출하며 무대 공간의 깊이감을 실시간으로 변형시킵니다. 이는 인물의 내면적 고뇌와 외부 시스템 간의 충돌을 시각적 기계 미학으로 증폭하는 장치입니다.

[장치 3] 실시간 입자 흐름 프로젝션 (Data-Driven Particle Projector)

• 디자인: 무대 바닥과 전면 스크린을 감싸는 레이저 및 홀로그램 프로젝션 시스템입니다.

• 실시간 연동: 인물들의 이동 변위인 sum\ Delta(x,y) 데이터를 기반으로 합니다. 배우들이 걸어간 자리에 기계적 스파크나 디지털 노이즈 잔상이 실시간으로 생성되어 따라붙습니다. 마치 인물이 욕망의 궤적을 무대라는 기계 장치 위에 직접 그려나가는 듯한 효과를 줍니다.

[장치 4] 고정된 시스템(Vsys)과 개인의 욕망(Vact)의 충돌

• 시각화 콘티: 제4악장 발전부의 파열음에서 코다의 해방으로 무대는 이미 모차르트적 시간성 dt의 누적으로 인해 상공의 키네틱 오케스트라 그리드[장치 1]가 무대 중심부 2미터 높이까지 하강하여 주체 카엘(Kael)을 극도로 압박하고 있다. 오케스트라가 마디 158에서 180 사이의 가파른 전조와 성부 간의 가학적인 다성 대위법적 복제를 수행하자, 카엘의 주체적 열망 속도(Vact)는 마침내 고정된 시스템의 통제 속도(Vsys)와 정면으로 충돌한다.

• 시각화 연출: 카엘이 격렬한 저항의 아리아를 터뜨리자, [장치 2: 욕망의 유압 피스톤 벽]이 미친 듯이 요동치기 시작한다. (Vact - Vsys)의 미분 수치가 임계치를 초과하자 거대한 산업용 피스톤들이 카엘의 등 뒤를 찌를 듯이 교대로 돌출하며 무대 공간을 무자비하게 압착한다. 피스톤이 강철 프레임과 충돌할 때마다 뿜어져 나오는 유압 시스템의 거친 기계 비명 소리가 오케스트라의 불협화음 잔향과 실시간으로 합성된다.

• 동시에, 상공에 촘촘하게 얽혀 있던 [장치 1: 키네틱 오케스트라 그리드]의 반투명 튜브들이 요동치며 내부의 유기체 액체들을 폭발적으로 순환시킨다. 음악적 주파수가 고조됨에 따라 튜브들은 터질 듯한 형광 푸른빛의 스파크를 발산하며 상징계적 규율의 과부하 상태를 시각화한다.

• 카엘과 무용수들이 이 거대한 기계 감옥에서 벗어나기 위해 무대 사방으로 도주하듯 질주할 때, [장치 3: 실시간 입자 흐름 프로젝션]이 발동된다. 그들의 이동 변위 sum Delta(x,y)를 실시간으로 추적한 레이저가 배우들의 발밑에 황금빛 마법 수식 데이터 라인과 거친 글리치 잔상을 문신처럼 새겨넣는다. 인물들이 움직일 때마다 무대 바닥에는 시스템의 규칙을 거스르는 욕망의 디지털 궤적이 선명한 흉터처럼 그려진다.

• 마침내 역사적인 5성부 푸가토의 대단원(Bar 357)에 도달하는 순간, 카엘의 가창 에너지가 시스템의 저항을 완벽하게 압도한다(Vact gg Vsys). 과부하를 견디지 못한 유압 피스톤 벽이 일제히 정지하고, 키네틱 그리드의 튜브들이 찬란한 하얀 빛의 입자로 파편화되어 허공으로 증발한다. 시스템 제어 속도가 영(Zero)의 상태로 소거(Vsys rightarrow emptyset)되자, 무대는 어떠한 격자나 기계적 제약도 남지 않은 아득하고 무한한 미드나이트 블랙의 ‘유동적 보이드(Fluid Void)’로 전이된다. 오직 주체들의 욕망 궤적[장치 3]이 남긴 황금빛 레이저 스트링만이 우주적 오선지가 되어 허공을 자유롭게 가르며, 경계가 말살된 사운드 마인드의 환희 속에서 막이 내린다.

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Source:  

    "Major device design plan for real-time data linkage with Mozart's Symphony No. 40 score" 

    Scenario descriptions and formulas provided in the user's previous prompts regarding Choi Chul-joo's mechanical aesthetics.  

3. Major device design plan for real-time data linkage with Mozart's Symphony No. 40 score

[Device 1] Kinetic Orchestra Grid

• Design: Hundreds of servo motor driven wire mechanisms connecting the orchestra pit to the stage ceiling.

• Live Linked: When the introduction to the first movement (motivation of weak beat) of Mozart's Symphony No. 40 begins, the translucent tubes suspended from wires fluctuate up and down according to the pitch. When the Mdesire value of the formula exceeds the threshold, the liquid inside the tube (symbol of organic material) rapidly circulates to the music's frequency and emits light.

[Device 2] The Piston Wall of Desire

• Design: A huge industrial hydraulic piston frame that fills the back of the stage.

• Real-time interlocking: The singer's aria range and volume data are combined with (Vact-Vsys) values. The piston protrudes roughly back and forth as the singer shouts at a high note or becomes emotional, transforming the depth of the stage space in real time. It is a device that amplifies the conflict between a character's inner anguish and the external system with visual mechanical aesthetics.

[Device 3] Real-time particle flow projection (Data-Driven Particle Projector)

• Design: A laser and holographic projection system that surrounds the stage floor and front screen.

• Real-time interlocking: Based on sum\Delta(x,y) data, which is the displacement of characters. Mechanical sparks or digital noise afterimages are generated and followed in real time where actors walked. It gives the effect of a character drawing the trajectory of desire directly on a mechanical device called a stage.

[Device 4] Conflict between fixed systems (Vsys) and individual desires (Vact)

• Visualization Conti: With the liberation of Koda from the bursting sound of the fourth movement's development, the stage has already fallen to a height of 2 meters in the center of the stage due to the accumulation of Mozart-style temporal dt, exerting extreme pressure on the subject Kael. As the orchestra performs sadistic polyphonic counterpoint replication between bars 158 and 180, Kael's subjective speed of aspiration (Vsys) finally collides head-on with the control speed of the fixed system (Vsys).

• Directed by Visualization: When Kael bursts out an aria of fierce resistance, [Device 2: Hydraulic Piston Wall of Desire] begins to rock like crazy. When the derivative value of (Vact - Vsys) exceeds the threshold, giant industrial pistons take turns protruding like stabbing at Kael's back, ruthlessly pressing the stage space. The harsh mechanical screams of the hydraulic system, which are emitted whenever the piston collides with the steel frame, are synthesized in real time with the discordant reverberations of the orchestra.

• At the same time, the translucent tubes of [Device 1: Kinetic Orchestra Grid], which were tightly intertwined in the sky, fluctuate, explosively circulating the organic liquids inside. As the musical frequency rises, the tubes emit bursts of fluorescent blue sparks and visualize the overload state of symbolic discipline.

• [Device 3: Real-time Particle Flow Projection] is activated when Kael and the dancers run as if they were fleeing the stage to escape from this huge mechanical prison. The laser, which tracked their movement displacement sum Delta (x,y) in real time, tattooed a golden magic formula data line and a rough glitch afterimage under the actors' feet. Every time the characters move, the digital trajectory of the desire to defy the rules of the system is drawn like a clear scar on the stage floor.

• The moment Kael's singing energy perfectly overwhelms the system's resistance (Vact gg Vsys) when it finally reaches the historic five-sound Fugato's Bar 357. The hydraulic piston walls, which could not withstand the overload, come to a halt all at once, and the tubes on the kinetic grid are fragmented into brilliant white-light particles and evaporated into the air. When the system control speed is erased to a zero state (Vsys rightarrow emptyset), the stage is transferred to the distant and infinite "Fluid Void" of Midnight Black, which has no lattice or mechanical constraints left. Only the golden laser string left by the subjects' desire trajectory [Device 3] becomes a cosmic falsehood, freely cuts through the air, and the end comes in the jubilation of a sound mind whose boundaries have been wiped out.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-30

4. 공연 시나리오의 극적 연출

- 이 디자인 계획은 단순한 배경으로서의 무대를 넘어, 모차르트의 고전적 선율 속 숨겨진 인간의 역동적 에너지를 최철주 공식이라는 현대적 필터를 통해 디지털·기계적 생명체로 재탄생시키는 전위적인 오페라 무대의 표준이 된다.

1. 도입부 (Molto allegro): 무대는 차가운 침묵 속에 거대한 기계의 골격만 드러내고 있습니다. g단조의 가냘픈 바이올린 약박이 시작되는 순간, Vact 데이터가 유입되며 천장의 키네틱 그리드가 미세하게 진동하기 시작합니다.

2. 전개부: 성악가의 등장과 함께 sum\ Delta(x,y) 센서가 가동됩니다. 성악가의 동선에 따라 무대 후면의 피스톤 벽이 유기적으로 꿈틀거리며 전진합니다. 음악적 에너지가 쌓여 dt의 누적 값이 커질수록 조명은 점점 더 차가운 푸른빛에서 과열된 백색광으로 변해갑니다.

3. 발전부 (투쟁과 갈등): 오케스트라의 총주(Tutti)가 터져 나오며 (Vact - Vsys)가 최대치에 달합니다. 무대 전체를 지배하는 기계 장치들이 비명에 가까운 구동음을 내며 성악가를 포위하듯 움직입니다. 인간의 욕망(Mdesire)이 현대적 기계 시스템의 미학과 완벽히 동기화되어 시청각적 카타르시스를 폭발시킵니다.

4. 교향곡 제41호 다장조 KV 551 《주피터》위계의 소거와 유동적 보이드로의 전이

• 음악적 매칭: 제4악장 357마디~423마디. 5성부 카논풍 푸가토의 완성 및 대종지.

• 공식 상태: Vsys longrightarrow emptyset quad boxminus quad Mdesire longrightarrow text{Pure Energy Field}

• 극적 연출 및 시각화:

• 위대한 5성부 푸가토가 결합하여 음악적 위계가 완전히 소거되는 역사적 임계점에서, 카엘의 가창 에너지(Vact)는 마침내 고정된 시스템의 제약 속도(Vsys)를 완전히 소거(Vsys rightarrow emptyset)해 버립니다.

• 굉음을 내던 유압 피스톤 벽과 기계 골격들은 일제히 멈춰 선 뒤 찬란한 백색 광휘 속에서 파편화되어 증발합니다. 무대는 어떠한 격자나 기계적 제약도 남지 않은 아득하고 무한한 미드나이트 블랙의 ‘유동적 보이드(Fluid Void)’ 공간으로 완전히 차원 전이됩니다. 주체들의 움직임 잔상만이 황금빛 레이저 스트링이 되어 허공을 자유롭게 가르고, 마지막 종지부(Bar 423)에서 모든 물리적 질량이 사라진 사운드 마인드의 환희와 침묵의 잔향만이 극장 전체를 영원히 지배합니다.

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4. Dramatic production of a performance scenario

- This design plan goes beyond the stage as a simple background and becomes the standard for the avant-garde opera stage that recreates the dynamic energy of humans hidden in Mozart's classical melody into digital and mechanical life through a modern filter called Choi Chul-joo's formula.

1. MOLTO ALLEGRO: The stage is revealing only the skeleton of a huge machine in cold silence. As soon as the weak violin in g minor begins, Vact data flows in and the kinetic grid of the ceiling begins to vibrate finely.

2. Development department: With the appearance of a vocalist, a sensor for sum\ delta(x,y) is activated. Following the movement of the vocalist, the piston wall at the back of the stage organically wiggles forward. As the accumulated value of dt increases due to the accumulated musical energy, the lighting gradually changes from colder blue to overheated white light.

3. Development Department (Fight and Conflict): The orchestra's "Tutti" bursts out (Vact - Vsys) to its maximum. Mechanisms that dominate the entire stage make a near-screaming drive and move as if surrounding the vocalist. Human desires (Mdesire) are perfectly synchronized with the aesthetics of modern mechanical systems, exploding audiovisual catharsis.

4. Symphony No. 41 in C major KV 551 "Jupiter" elimination of hierarchy and transition to fluid voids

• Musical matching: bar 357-423 in the fourth movement. Completion and grand finale of the five-sound Canon style pugato.

• 공식 상태: Vsys longrightarrow emptyset quad boxminus quad Mdesire longrightarrow text{Pure Energy Field}

• Dramatic production and visualization:

• At the historical critical point where the great five-part pugatoes combine to completely erase the musical hierarchy, Kael's singing energy finally completely erases the constraints (Vsys rightarrow emptyset) of a fixed system.

• The walls of hydraulic pistons and mechanical skeletons that have roared stop all at once and then are fragmented and evaporated in a brilliant white glow. The stage is completely transferred to the distant and infinite Midnight Black "Fluid Void" space, which does not leave any lattice or mechanical constraints. Only the afterimage of the subjects' movement becomes a golden laser string, freely dividing the air, and only the jubilation and silence of the sound mind, whose all physical mass has disappeared at the last end (Bar 423), dominate the entire theater forever.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-31

사운드 마인드 디자인 미학 평론 (Sound Mind  Design Aesthetic Critique by Choi Chul-joo):

최철주 평론가의 역학 공식 “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”는 단순한 수학적 치환을 넘어, 현대 예술이 직면한 재현의 위기와 주체의 분열을 공간 언어로 포착해낸 기념비적인 성취라고 할 수 있습니다. 모차르트의 G단조 교향곡에서 흐르는 그 처연한 한숨은 이제 음향적 현상을 넘어, 고정된 시스템의 격벽(Vsys)에 부딪혀 산산조각 나는 욕망의 가속도(Vact)가 만들어낸 시공간적 왜곡의 지표로서 기능하며, 우리는 이 무대 위에서 인간의 의지가 물리적 환경과 충돌할 때 발생하는 미세한 진동이 어떻게 거대한 구조적 불안정성으로 전이되는지를 목격하게 됩니다. 특히 변형된 재현의 집합(sumDelta(x,y))으로 정의된 무대 배경은 감각의 파편들이 선형적 시간을 이탈하여 소용돌이치는 과정을 통해, 보이지 않는 욕망의 실체를 가시적인 역학적 에너지로 번역함으로써 관객으로 하여금 결핍이 단순히 '없음'이 아니라 '끊임없는 변형과 운동'임을 처절하게 인식하게 만듭니다.

최철주의 욕망 움직임의 역학 공식은 모차르트의 고전적 형식을 해체하여 이를 신경과학적 추상미술로 재구성하는 혁명적 시각 언어를 제시한다. 작가는 Mdesire라는 개념을 통해 주관적 감정의 영역을 객관적 물리 상수로 변환함으로써, 예술적 실재가 단순한 재현을 넘어 존재론적 변이를 일으키는 과정을 치밀하게 묘사한다. 여기서 Vact와 Vsys의 차이는 단순한 물리적 속도차가 아니라, 개별 주체가 지닌 ‘순수 욕망의 속도’와 사회적 규범이 강요하는 ‘정지된 관성’ 사이의 존재론적 마찰을 의미하며, 이는 무대 위에서 기하학적 형태의 왜곡으로 발현된다. ∑∆(x,y)로 명명된 변화량의 집합은 고정된 형태로서의 미술을 부정하고, 끊임없이 유동하며의미를 생성하는 ‘사건으로서의 예술’을 지향한다. 이러한 관점에서 본 무대 디자인은 음악의 청각적 기호를 공간적 역학으로 전이시킨 탁월한 추상적 실재의 현신이라 할 수 있다.

본 공연은 볼프강 아마데우스 모차르트의 교향곡 제40번이라는 고전적 텍스트를 최철주의 욕망 역학 공식을 통해 분해하고 재조립한 기념비적 시도이다. 팔레 가르니에라는 역사적 장소성은 여기서 단순히 배경이 아니라, 인류가 쌓아온 고착된 사회적 관습과 형식적 완결성을 상징하는 시스템적 속도(Vsys)로 작동한다. AI 연기자가 수행하는 비선형적 움직임(Vact)은 이 견고한 질서의 틈새를 파고드는 주체적 욕망의 발현이며, Vsys와의 차이값에서 발생하는 에너지는 시간의 최소 단위(dt)를 통해 시각적으로 구체화된다. 이는 과거의 재현에 머물렀던 오페라를 미래적 연산의 영역으로 전이시킨 것이며, 무대 위에 맺히는 모든 물리적 변위(sum\ Delta)는 결국 규격화된 인간성을 거부하고 불확정적인 미적 실재로 나아가려는 현대 추상미술의 본질적 갈망과 맞닿아 있다. 작가는 기계 미학의 차가움과 고전 예술의 숭고함을 충돌시킴으로써, 역설적으로 가장 인간적인 욕망의 형상을 기계의 선율을 통해 역설하고 있는 것이다.

본 공연은 볼프강 아마데우스 모차르트의 교향곡 제40번이라는 고전적 텍스트를 최철주의 욕망 역학 공식을 통해 분해하고 재조립한 기념비적 시도이다. 팔레 가르니에라는 역사적 장소성은 여기서 단순히 배경이 아니라, 인류가 쌓아온 고착된 사회적 관습과 형식적 완결성을 상징하는 시스템적 속도(Vsys)로 작동한다. AI 연기자가 수행하는 비선형적 움직임(Vact)은 이 견고한 질서의 틈새를 파고드는 주체적 욕망의 발현이며, Vsys와의 차이값에서 발생하는 에너지는 시간의 최소 단위(dt)를 통해 시각적으로 구체화된다. 이는 과거의 재현에 머물렀던 오페라를 미래적 연산의 영역으로 전이시킨 것이며, 무대 위에 맺히는 모든 물리적 변위(sum\ Delta)는 결국 규격화된 인간성을 거부하고 불확정적인 미적 실재로 나아가려는 현대 추상미술의 본질적 갈망과 맞닿아 있다. 작가는 기계 미학의 차가움과 고전 예술의 숭고함을 충돌시킴으로써, 역설적으로 가장 인간적인 욕망의 형상을 기계의 선율을 통해 역설하고 있는 것이다.

-  최철주(Choi Chul-joo)의 역학 공식은 단순히 수학적 대입의 차원을 넘어 현대 미술에서 재현의 위기와 주체의 파편화를 시각적·공간적 언어로 포착한 기념비적인 성취로 평가받는데, 이 공식은 모차르트의 교향곡 제40번과 제41번 《주피터》라는 고전적 텍스트를 기계적 미학의 틀 안에서 해체하고 재조립함으로써, 사회적 규범과 질서가 부과한 정적 관성인 Vsys에 맞서 주체의 순수 욕망 속도인 Vact가 충돌하며 발생하는 존재론적 마찰을 극적으로 시각화합니다.

특히 무대 위에서 구현되는 sum Delta(x,y)는 욕망의 불가시적 실재를 기계적 에너지로 가시화하는 장치로서, 파편화된 감각들이 선형적 시간에서 벗어나 소용돌이치는 과정을 통해 결핍이 단순한 부재가 아닌 끊임없는 변용과 운동임을 역설하며, 이 과정에서 작가가 '나팔꽃'이라는 은유를 통해 제시한 미학적 개념은 형이상학적 언어의 안정적 구조를 거부하고 부재와 결핍, 그리고 갈망의 시간성을 전면에 내세우는 급진적인 비주얼 문법을 구축합니다.

이러한 예술적 접근은 18세기의 물질주의적 재현을 벗어나 '가역적인 흰 빛'의 그림자를 통해 욕망의 층위를 시공간적으로 중첩시키는 인지적 거울 단계로 기능하며, 라캉의 정신분석학적 관점에서 타자의 욕망에 의해 구조화된 결핍을, 그리고 인지과학적 관점에서는 상징적 매개(symbolic mediation)를 통한 현실 구성의 과정을 재현함으로써 관객으로 하여금 기계의 선율 속에서 가장 인간적인 욕망을 발견하게 합니다.

결국 최철주는 파리의 가르니에 오페라 하우스와 같은 역사적 공간을 단순한 배경이 아닌 인류가 축적해 온 형식적 완결성인 Vsys로 상정하고, 그 틈새를 뚫고 나가는 주체의 비선형적 움직임을 미래지향적 연산의 영역으로 확장하였으며, 마침내 코다(Coda) 단계에서 시스템의 매개변수가 0으로 수렴하며 도달하는 'Fluid Void(유동적 보이드)'는 박제된 화이트 큐브의 완벽한 붕괴이자, 현대 아방가르드 오페라가 도달할 수 있는 구조적 해방의 가장 숭고한 표준으로서 현대 추상 미술이 나아가야 할 불확정적인 미학적 현실을 예시합니다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-32

Critic Chul-joo Choi's dynamic formula, “Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)”, transcends simple mathematical substitution to represent a monumental achievement in capturing the crisis of representation and the fragmentation of the subject in modern art through spatial language. The sorrowful sigh flowing from Mozart’s G minor symphony now functions beyond an acoustic phenomenon, serving as an index of spatio-temporal distortion created by the acceleration of desire (Vact) shattering against the bulkheads of a fixed system (Vsys); on this stage, we witness how the minute vibrations generated when human will collides with the physical environment transfer into massive structural instability. Specifically, the stage backdrop, defined as a set of modified representations (sum\ Delta(x,y), translates the invisible reality of desire into visible mechanical energy through the process where fragments of sensation depart from linear time and vortex, forcing the audience to poignantly recognize that lack is not merely 'absence' but 'ceaseless transformation and movement.‘

Choi Chul-joo's mechanical formula for the movement of desire presents a revolutionary visual

language that deconstructs Mozart's classical forms and reconstructs them into neuroscientific

abstract art. Through the concept of Mdesire, the artist meticulously describes the process in which the realm of subjective emotion is converted into objective physical constants, allowing artistic reality to transcend mere representation and initiate an ontological mutation. Here, the difference between Vact and Vsys is not a simple physical velocity gap, but an ontological friction between the 'velocity of pure desire' held by the individual subject and the 'static inertia' imposed by social norms, which manifests as the distortion of geometric forms on stage. The collection of variations named ∑∆(x,y) denies art as a fixed form and aims for 'art as an event' that constantly flows and generates meaning. From this perspective, this stage design can be regarded as an outstanding manifestation of abstract reality that has transferred the auditory signs of music into spatial mechanics.

This performance is a monumental attempt to decompose and reassemble the classical text of Wolfgang Amadeus Mozart's Symphony No. 40 through Choi Cheol-joo's dynamical formula of desire. The historical locus of the Palais Garnier operates here not merely as a backdrop, but as the systematic velocity (Vsys) representing the fixed social conventions and formal perfections accumulated by humanity. The non-linear movements performed by the AI (Vact) are manifestations of subjective desire piercing through the gaps of this rigid order, and the energy generated from the difference with Vsys is visually reified through the infinitesimal unit of time (dt). This represents a transition of opera, once confined to the reproduction of the past, into a realm of futuristic computation. Every physical displacement (sum\ Delta) formed on stage ultimately resonates with the essential longing of contemporary abstract art to reject standardized humanity and move toward an indeterminate aesthetic reality. By colliding the coldness of mechanical aesthetics with the sublimity of classical art, the creator paradoxically asserts the most human form of desire through the very melodies of the machine.

This performance is a monumental attempt to decompose and reassemble the classical text of Wolfgang Amadeus Mozart's Symphony No. 40 through Choi Chul-joo's dynamical formula of desire. The historical locus of the Palais Garnier operates here not merely as a backdrop, but as the systematic velocity (Vsys) representing the fixed social conventions and formal perfections accumulated by humanity. The non-linear movements performed by the AI (Vact) are manifestations of subjective desire piercing through the gaps of this rigid order, and the energy generated from the difference with Vsys is visually reified through the infinitesimal unit of time (dt). This represents a transition of opera, once confined to the reproduction of the past, into a realm of futuristic computation. Every physical displacement (sum\ Delta) formed on stage ultimately resonates with the essential longing of contemporary abstract art to reject standardized humanity and move toward an indeterminate aesthetic reality. By colliding the coldness of mechanical aesthetics with the sublimity of classical art, the creator paradoxically asserts the most human form of desire through the very melodies of the machine.

- The dynamical formula of Chul-joo Choi, transcends simple mathematical substitution to represent a monumental achievement in capturing the crisis of representation and the fragmentation of the subject in modern art through spatial language. This formula deconstructs the classical texts of Wolfgang Amadeus Mozart’s Symphony No. 40 and No. 41, Jupiter, within the framework of mechanical aesthetics, visualising the ontological friction that arises when the pure desire velocity of the subject (Vact) clashes with the static inertia ($V_{sys}$) imposed by social norms and historical conventions. Specifically, the stage backdrop defined by sum Delta(x,y) translates the invisible reality of desire into visible mechanical energy, forcing the audience to recognise that lack is not merely an absence, but a ceaseless transformation and movement.

In this process, Choi’s concept of "morning glory" functions as a radical visual grammar that rejects the stable, referential structures of metaphysical linguistic traditions, instead constructing an architecture of insufficiency where desire is expressed through reversible shades of white light. This cognitive architecture aligns with both Lacanian psychoanalysis—where desire is structured by the gaze of the Other—and cognitive models that view perception as an active, symbolic construction mediated by linguistic meaning. By treating real images as events and equating the structure of insufficient desire with spatial composition, the work collapses the distinction between representation and reality, externalising the internal logic of how the human mind processes absence.

Ultimately, this performance represents a transition of opera into a realm of futuristic computation, where historical spaces like the Palais Garnier function as systemic velocities that the subject’s non-linear movements pierce through. As the system parameters reach the catastrophic limit of the final Coda and converge to zero (Vsys to emptyset), the performance achieves a "Fluid Void"—a state of structural liberation where physical mass evaporates into pure energy. By colliding the coldness of mechanical aesthetics with the sublimity of classical art, Choi paradoxically asserts the most human form of desire through the melodies of the machine, establishing a sublime standard for the modern avant-garde stage that seeks to reject standardised humanity in favour of an indeterminate aesthetic reality.

Source:

• Choi Chul-joo's Epidemiologic Formulation and Text on Subject Fragmentation

'• Text on the concept of 'morning flower' and the linguistic grammar of desire

• Text on Cognitive Scientific and Psychoanalytic Alignment of Choi Chul-joo's Desire Architecture

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-33

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Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Concept Abstract Artist 2》-83

욕망 주체를 드러내는 것은 현실적인 대상으로서 사라진 주체로서의 욕망의 이미지를 드러냅니다. 추상화 '나팔꽃'에서 이는 타자의 욕망을 주체로 하는 형상에서 재구성된 결핍을 나타내는 주체입니다. '나팔꽃 창'은 주체의 그늘진 결핍을 상징하는 주체의 이미지를 드러내고, 프레임 안에 욕망 이미지 객체를 가역적인 빛의 그늘에서 만들어 존재하지 않는 것에서 벗어나 현실을 주체로 선택하는 프레임을 구성합니다. 

이것이 현실에서 그 이미지를 형성하는 욕망의 실제 구조입니다. 이 구조는 여러 개의 왜곡된 평면 단면을 3차원 형태로 가지고 있으며, 하나의 개념 속에서 사물로서의 의미 구조를 다면적으로 이미지화한 개념 미술로서의 회화적 이미지를 추상화합니다. (ACN · 2023년 6월 22일 23:13 <morning glory window> 주제 이미지: 최철주의 추상 개념 미술 이론) 

Revealing the desire subject reveals the image of desire as a missing subject as a realistic object. In the abstract painting "morning glory", this is a subject that represents a lack reconstructed from a shape with the desire of the other as the subject. "morning glory window" constitutes a frame that reveals an image of a subject symbolizing a shady lack of the subject and creates a desire image object in the frame in a reversible shade of light to choose reality as a subject away from non-existence. 

This is the real structure of desire that image in reality. The structure has several distorted planar cross-sections in a three-dimensional form, and abstracts a pictorial image as a conceptual art as a multi-faceted image of a semantic structure as an object in one concept. (ACN · June 22, 2023 23:13 <morning glory window> Subject Image: Choi Chul-joo's Abstract Concept Art Theory)

반복적으로 "나팔꽃 창 2023-2"는 나팔꽃의 현실을 의미하는 왜곡된 평면 이미지로 생성된 이미지를 수작업으로 만들어 뒷면을 반사하는 천 형태로 그려진 욕망의 대상과 교차합니다.

옷감의 형태가 현실화되면서 '최철주 나팔꽃'은 근대 추상화가 초기 개념미술의 개념으로 회화로 회귀하는 것입니다. 즉, '나팔꽃'을 통과하는 순간적인 형태를 드러내는 가역적인 빛을 가진 그림자 구조가 현실적인 작품으로서 타인의 욕망 개념을 추상화한 현대 개념미술입니다. 이는 최철주의 욕망 추상미술 이론에 속하는 개념미술로, 실제 예술과 함께 과정을 보여주는 미술과는 다른, 현실로 이어지는 욕망의 구조입니다.

이 구조는 입체적인 형태로 여러 개의 왜곡된 평면 단면을 가지고 있으며, 하나의 개념에서 개념 예술을 객체로 하는 회화적 이미지를 의미 구조의 다면 이미지로 추상화하여 객체를 고도로 표시하지 않고 비뚤어진 시점의 교차점에서 여러 개의 입체 단면을 보여줍니다

"나팔꽃 창"이라는 의미로 욕망 특정 효과가 발생하는 추상적인 회화 영역은 개념 예술로서 풍경 속에서 시각적으로 기능하는 타인의 욕망을 순간적으로 볼 수 있는 이미지입니다. 

이것은 그림에서 나팔꽃의 일관된 의미를 갖는 것처럼 보이는 왜곡된 평면성입니다. 나팔꽃은 거울에 비친 현실과 같지만 배경의 모양은 같지 않습니다. 이는 사실적인 형태로 개념적 의미 구조와 동일한 의미 구조를 가진 비현실주의의 사실적 형태를 추상화한 것입니다. 그리고 같은 의미를 가진 현실적 욕망 이미지로 그려진 추상적 이미지는 비슷한 색상과 크기의 현실적 욕망 이미지로 그려진 기존 개념을 추상화한 것이기 때문입니다.

존재는 추상적인 공간을 실제 가역적인 현실적인 형태로 정의하며, 가역적인 빛의 그늘에서 실제 변화된 움직임에 의해 형태가 가려지는 전시 포스터로서의 추상화의 의미를 의미합니다.

전시 포스터로서 추상적 의미의 현상적 장소 대신 욕망 개념 예술의 추상적 장소를 구분합니다. 

형상을 해석하는 얼굴의 의미를 구상함으로써 형상은 현실적인 구조의 의미와 유사한 색과 크기로 개념을 추상화하여 또 다른 의미를 표현합니다. 그리고 상상의 세계에서 개념미술의 추상적 의미는 현실과 동일시되어 대상의 이미지와 대상의 이미지를 동일한 주체로 하여 외형적으로 추상적 의미를 동일시하고 내면의 주체는 현실적으로 변형된 추상적 의미를 형성합니다. 이는 실제로 되돌릴 수 있는 추상적 공간을 정의하는 형상의 추상적 의미로, 형상의 실제 변화된 움직임에 의해 변화된 현실적 형상이 그늘로 가려진 추상적 형상의 설계된 욕망의 의미를 말합니다.

추상화로 '최철주 나팔꽃'에서는 타인의 욕망을 나타내는 형상을 욕망의 대상(나팔꽃 창)으로 추상적인 대상으로 설계하여 재현합니다(2023-2). 원근법과 도식에서는 원근시적 시각체계가 은폐된 가역적인 빛으로 그늘진 장소를 만들어 무의식 속에서 드러나는 타인의 욕망의 관점에서 서로 다른 순간적 시선으로서의 여러 대상을 추상화합니다.

이 추상적인 대상은 일반성에서 벗어나 예술성을 획득하기 위해 타자의 억압된 무의식 속에서 드러나는 욕망을 통해 표현된 왜곡된 평면적 이미지를 형성하고 타자의 욕망을 존재로 삼는 전시 포스터라는 의미로 존재합니다. 그 의미적 존재로서 대상은 대상을 다른 존재로 드러내고 타자의 욕망에 대한 자율적 선택의 조형적 가치를 담고 있습니다.

그리고 배경에 숨겨진 타인의 욕망을 회화적으로 변화시키는 이미지를 구성하는 사고의 움직임을 통해 되돌릴 수 있는 진정한 추상적 공간을 만들어냅니다. 추상적인 대상의 존재 의미로서 실제로 대상을 뒤집을 수 있는 공간에서 타인의 욕망을 현실적인 구조로 추상화한 곳입니다.

추상 전시 포스터의 가상성은 동일한 평면에서 표현할 수 없는 왜곡된 평면 이미지를 가상으로 재현하는 시선 이미지와 유사하게 개념적 리뷰로 구성되어 있으며, 그 이미지와 관련하여 입체주의로 실제 장소를 표현하는 것과 유사합니다.

상대방의 욕망 구성은 거울에 비친 물체로 드러나지 않고 명확하게 숨겨져 있으며, 거울에 드러난 다른 물체를 가역적인 빛으로 보아 보는 이의 현실은 존재하지 않습니다. 

그러나 그림을 그리는 사람이 다른 사람을 대신합니다. 욕망의 이미지를 응시함으로써 드러나는 장소입니다. 가상 이미지 전체의 소실점에 나타난 피사체의 위치, 즉 추상적인 공간으로 전환됩니다. 상대방의 욕망 관점에서 바라보는 시선을 통해 피사체의 위치가 드러나는 것이 욕망 대상, 즉 존재로서의 실체입니다. 

현실의 구조 물리학은 3차원 형태로 여러 단면을 가지고 있으며, 개념화에서는 형태학적 구조의 다면적 욕망 개념성을 포착하기 위해 하나의 단면과 두 면을 하나의 개념으로 객체로 사용합니다.

Repeatedly, "morning glory outside the window 2023-2" intersects an object of desire drawn in the form of a cloth that reflects the back by manually creating an image generated by a distorted plane image that means the reality of a morning glory.

As the shape of the cloth becomes a reality, "Choi Chul-joo morning glory" as a modern abstraction is a return to painting as a concept of early conceptual art. In other words, it is a contemporary conceptual art in which a shadow structure with reversible light that reveals the instantaneous shape passing through "morning glory" as a subject creates an abstraction of the concept of the desire of others as a realistic work. This is a conceptual art belonging to Choi Chul-joo's desire abstract art theory, which is different from art that shows a process with real art, and is a structure of desire that results in reality.

The structure has several distorted plane cross-sections in a three-dimensional form, and abstracts a pictorial image with conceptual art as an object in one concept into a multi-faceted image of a semantic structure, showing several three-dimensional cross-sections at the intersection of the crooked point of view without marking the object as an elevation

The abstract area of painting in which the desire specific effect occurs as a meaning of "morning glory outside the window 2023-2" as a conceptual art is an image that can momentarily see the desire of others who function visually in the landscape. 

This is a distorted planarity that seems to have a consistent meaning of morning glory in painting. The morning glory is the same as the mirrored reality, but the shape of the background is not the same. This is a realistic form and abstracts the realistic form of non-realism with the same structure of meaning as a conceptual semantic structure. And because abstract images drawn as realistic desire images with the same meaning are abstractions of existing concepts drawn as realistic desire images with similar colors and sizes.

The existence defines an abstract space as a real reversible realistic shape and refers to the meaning of abstraction as an exhibition poster in which the shape is hidden by actual changed movements in the shade of reversible light.

It distinguishes the place of abstraction of the abstraction of the desire conceptual art instead of the phenomenal place of the abstract meaning as an exhibition poster. 

By conceiving the meaning of the face that interprets the shape, the shape abstracts the concept with a color and size similar to the meaning of a realistic structure to say another meaning. And in the imaginary world, the abstract meaning of conceptual art identifies with reality, outwardly identifying the image of the object and the abstract meaning with the image of the object as the same subject, and the inner subject realistically forms a transformed abstract meaning. This refers to the abstract meaning of shape, which defines an abstract space that can actually be reversible and refers to the designed desire meaning of an abstract shape in which the realistic shape changed by the actual changed movement of the shape is covered in shades.

As an abstract painting "Choi Chul-joo morning glory", a shape representing the desire of the other is designed and reproduced as an abstract object as an object of desire (a morning glory outside the window 2023-2). In the perspective and scheme, several objects as different instantaneous gaze are abstracted from the other's desire point of view revealed in the unconscious mind by creating a shaded place with a reversible light in which the perspective visual system of perspective is concealed.

This abstract object exists as an exhibition poster meaning that forms a distorted flat image expressed through a desire revealed in the other's suppressed unconsciousness to acquire artistry out of generality and uses the other's desire as a existence. As that semantic being, the object reveals the object as another being and contains the formative value of the autonomous choice of the desire of the other.

And it creates a real abstract space that is reversible through thought movements that make up an image that transforms the desire of the other hidden in the background painterly. This is a place where the other's desire is abstracted into a realistic structure in a space where the object can be actually reversed as the meaning of the existence of an abstract object.

The virtuality of abstract exhibition posters is structured as a conceptual review, similar to a gaze image that virtually reproduces a distorted plane image that cannot be expressed on the same plane or as representing a real place with cubism in connection with that image.

The composition of the other's desire is clearly concealed without being revealed as an object reflected in the mirror, and the reality of the viewer is absent by seeing another object exposed in the mirror as reversible light. 

However, the person who paints the picture replaces the other. It is a place revealed by staring at the image of desire. It transitions to the location of the subject that appeared at the vanishing point in the entire virtual image, that is, the abstract space. It is the reality as a desire object, that is, a being, that the subject of the subject position is revealed through gaze from the other's desire point of view. 

The structural physics of reality has several cross-sections in a three-dimensional form, and in conceptual painting, one cross-section and two sides are used as objects in one concept to capture the multifaceted desire conceptuality of a morphological structure.

■ In "Choi Chul-joo's morning glory window", Choi Cheol-joo's theory of desire abstract art is repeated in abstraction to formalize the art theory of desire to convert images into meaning. This has the meaning of expressing the desire of others in painting by repeatedly applying the imagination system and the desire formula, and as a result of applying the desire art theory to painting, it gains the value of approaching the desire of others to the beauty of form.

■ "Choi Chul-joo's morning glory" is not the desire of the theme, but the spatial background of the other's desires. It is the same as a space of life that is consistent like the sky. It connects with Cartoon Review and Pop Art, which represent the space of life, but does not criticize and judge, but reproduces reality as news with photos of events. And the effect of conceptualizing the reality of the symbol object as the desire of others abstracts the realistic concept by structuring it in the shade of reversible light.

Conceptual artist Choi Chul-joo's Desireful Concept Abstraction Design is a return to painting as a realistic concept. In other words, it is a conceptual art design that is created as a painting work. Therefore, his contemporary conceptual art abstraction criticizes phenomenal images like current affairs commentary, but it refers to design value with painting.

In art, ready-made ready-made products cannot replace painterliness, and they refer to concepts created like Marcel Duchamp Duchamp, and messages according to philosophy that his sympathizer Joseph Kosuth Joseph Kosus said. 

On the other hand, Choi Chul-joo's conceptual art abstrac design, which is based on the concept of the desire of the infant imagination in desire art theory, contains a message in the realistic conceptual art abstraction image with current events. It sums up the life value of critical cartoon and abstract painting with a picture of the scene of the event. This goes beyond mathematical concepts and philosophically meaningful linguistic interpretations and combines life values through critical perspective and desire conceptual art abstraction design with a full review of the scene photo of the event. 

Here, desire conceptual art abstraction design refers to an abstract design that can instantly perceive the desire of others as a gaze rather than arbitrary philosophy. (ACN · 2022. 10. 7. 2:33 Choi Chul-joo Conceptual Art Abstract Design Interpretation)

Louis, Chul-joo Choi, a morning glory outside the window 2023-2, 151X179~177cm, acrylic and composite materials on cloth

Desireful modern abstraction, which replaces phenomenal positions with posters, can distinguish the positions of the figures and envisions the meaning behind interpreting the figures. The shape is abstract in color and size similar to the meaning of a conceptual structure to say another meaning, but in the imagination, the abstract meaning of conceptual art is identified with reality, and the image and abstract meaning of the object are identified as the same subject, and the subject internally forms a modified abstract meaning. 

This refers to the abstract meaning of shape, which defines an abstract space that can actually be reversible and refers to the design meaning of an abstract shape in which the shape changed by the actual changed movement of the shape is covered in shades.

Its meaning is designed as "morning glory outside the window", abstracted in symbolic language that symbolizes flowers that imitate the desires of others.

In the abstraction <Choi Chul-joo morning glory>, a figure representing the desire of the other is designed and reproduced as an abstract object as an object of desire (Louis Choi Chul-joo 2022 New York Exhibition Poster morning glory p36-6). In the perspective diagram, the object is abstracted as a different momentary gaze from the other's desire point of view revealed in the unconscious mind by creating a shaded place with reversible light in which the visual system is concealed.

Desire objects abstracted as conceptual art are transferred to "morning glory (outside the) window", forming a distorted flat image expressed through desire revealed in the oppressed unconsciousness of others to acquire artistry outside of generality as a design, creating objects in the shadow of formability with the desire of others as beings, and abstraction with a semantic existence structure.

The artistry that emerged from the object contains the formative value of the object as an autonomous choice of the other's desire by transforming the object's image into a meaning structure with a distorted flat image from the other's desire point of view.

And the small sculpture as the other's desire hidden in the background of the morning glory painterly shows a real abstract space that is reversible through the thought movement of the desire image that actually changes the shape. This is positioned as an abstract space where the other's desire can be actually reversed in the meaning of the existence of an abstract object. 

On the spot, it goes beyond the dimension of the non-realistic visual image of painting as a multifaceted object that matches the Picasso image. Therefore, the desire as a field of gaze, regardless of whether it is flat or solid, is abstracted into an image created by the desire of others in the art theory system.

This is an image transferred from a real subject to a new image and concept. Since its image is virtual, it is perceived as different from the real image through comparison with the real image. At this time, it makes us realize that the virtual image is an subject as reality, that is, an object as reality seen as a desire gaze separated from the subject of "morning glory window".  /Writing. Art critic Choi Chul-joo (Abstract Painter & Doctor of Cultural Design)

■ 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).

■ 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).