개념추상 미래 디자인, 철학적 욕망 공학자 [5] Philosophical Desire Engineer Louis Choi Chul-j

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개념추상 미래 디자인, 철학적 욕망 공학자 [5] Philosophical Desire Engineer Louis Choi Chul-joo (Master of Product Design and Doctor of Culture Design) / 미래지향적 포스트휴먼 아티스트 루이스 최철주는 미디어 아티스트의 범위를 넘어선 독창적인 예술 세계인 '철학적 욕망 엔지니어'입니다. 타인의 욕망을 추구하는 수학적, 기호학적 예술가로서 욕망 공식을 적용하여 타인의 욕망 기계, 생물학적 욕망, 인공지능의 미래 지형을 탐구합니다 Forward-Looking Posthuman Artist Louis Choi Chul-joo is a "philosophical desire engineer," an original art world beyond the scope of media artists. As a mathematical and semiotic artist who pursues the desires of others, he explores the future topography of other people's desire machines, biological desires, and artificial intelligence by applying the desire formula. 팝아트 AAS (Abstract Application Sketch) 개념추상 미래 디자이너 루이 최철주의 욕망개념 추상 디자인 욕망 공식 적용 미래 디자인: 현대 개념추상 리얼리즘 미래 디자인 아티스트 최철주는 타인의 욕망 예술에 대한 추상적 개념적 접근과 미래의 제품디자인 형식 및 언어적 추상 이미지를 결합합니다. 그의 욕망 개념, 즉 개념 추상 미술이 등장하고 형이상학적, 철학적 빛에서 강조되는 언어적 의미 개념과 충돌하는 미래 제품 이미지에 인공 조명과 함께 미래의 제품디자인 이미지를 연출합니다. 새로운 욕망의 기표로서 결핍 욕망의 미래 디자인 시각화는 결핍 욕망의 시각화 공식을 통해 언어 의미를 리얼리즘 이미지로 시각화합니다. 이것은 결핍 욕망의 시각화 공식으로 인간 욕망의 구조를 수학적·철학적·예술적으로 해석하려는 시도입니다. 이 공식은 최철주의 욕망 이론과 개념 추상 미학을 결합하여, 인간 내면의 결핍과 반복 충동을 기계적 언어 의미를 리얼리즘 미래 이미지로 시각화합니다. Contemporary Concept Abstract Realism Future design artist Choi Chul-joo combines an abstract conceptual approach to the art of the desires of others with future product design forms and linguistic abstract images. His concept of desire, that is, conceptual abstract art, appears and creates future product design images with artificial lighting on future product images that conflict with the concept of linguistic meaning emphasized in metaphysical and philosophical light. As a new sign of desire, the future design visualization of deficiency desire visualizes language meaning as a realist image through a visualization formula of deficiency desire. This is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically with the visualization formula "M_desire = ∑∅∂ / (1 - ∂)." This formula combines Choi's theory of desire with conceptual abstract aesthetics, visualizing human inner deficiencies and repetitive impulses as realist future images. / 현대 개념 추상 제품디자인 신작 읽기 - 현대 개념 팝아트 디자이너와 현대 개념 추상 제품 디자인 미학 비평가 최철주 제품 디자이너는 시각 예술 이론을 통해 미적 가치 디자인의 예술성을 검토하고, 추상적 욕망 개념과 언어적 의미 구조를 반영하여 인식과 미적 구조를 해석함으로써 추상적 욕망의 언어적 의미와 동일한 실제 제품 이미지를 디자인하는 현대 개념 추상 미술 제품 디자이너입니다. 개념추상 미래 디자이너 최철주는 인공지능(AI) 자동화 시대에 단순한 형태 지각을 넘어, 인간의 욕망과 언어적 개념을 시각적·공간적 예술성으로 변환한다. 이는 최철주 추상예술이론을 통해서 AI가 완벽한 대칭적인 규격화된 조형성을 제시할 때 타자의 욕망 구조와의 비대칭성을 은페한 욕망적 결핍에서 공간적 빈틈을 만들어내는 창조적인 디자인의 역할을 한다. Modern Concept Abstract Product Design Reading New Works - Contemporary Concept Pop Art Designer and Contemporary Conceptual Abstract Product Design Aesthetic Critique by Choi Chul-joo Product Designer Choi Chul-joo is a Contemporary Concept Abstract Art Product Designer who examines the artistry of aesthetic value design through visual art theory and designs actual product images identical to the linguistic meaning of abstract desires by interpreting perceptions and aesthetic structures by reflecting abstract desire concepts and linguistic semantic structures through "morning glory" works. Concept Abstract Future Designer Choi Chul-joo goes beyond simple form perception in the era of artificial intelligence (AI) automation and transforms human desires and linguistic concepts into visual and spatial artistry. This serves as a creative design that creates a spatial gap from the desire deficit that eases the asymmetry with the other's desire structure when AI presents perfect symmetrical standardized formability through Choi Chul-joo's abstract art theory. / 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.

디자인 언어 구조란 추상적 욕망의 미래 제품 이미지가 욕망 개념의 언어적 의미 구조인 것처럼 여겨지는 미래 시선의 현실상이다. 미래 디자인평론가 최철주는 현대미술비평과 함께 욕망추상 미래 디자인이라는 개념으로 현대미술과 미래 디자인 비평의 미적 가치, 프로세스, 예술성에 접근하고 있다. 그의 비평은 사진, 만화, 미술, 디자인의 예술성이 언어적 문법 구조로 작품의 의미에 접근해 욕망 개념의 현실을 비판하는 시각예술 이론을 가리킨다, 시각예술을 통한 현대 개념의 추상적 욕망을 언어적 의미로서 미래 디자인을 시각화한다. 이처럼 사진, 만화, 미술, 디자인의 미적 가치, 과정, 예술성을 검증하고 최철주 추상예술이론으로 미래 디자인 작품의 의미에 접근하는 동시대 미래 디자인평론을 한다. Design language structure is a reality of future gaze in which the future product image of abstract desire is considered to be the linguistic semantic structure of the concept of desire. Future design critic Choi Chul-joo is approaching the aesthetic value, process, and artistry of contemporary art and future design criticism under the concept of abstract desire future design along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of a work with a linguistic grammar structure and criticizes the reality of the concept of desire. It visualizes future design as a linguistic meaning of abstract desire of contemporary concepts through visual art. In this way, he examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and conducts a contemporary future design criticism that approaches the meaning of future design works with Choi Chul-joo's abstract art theory.

철학적 욕망 공식"M_desire = ∑∅∂ / (1 - ∂)" 적용 사용자 인터페이스 미술관 시설 디자인에 따른 개념적 형태가 아닌 문법으로 설계된 문법적 의자 추상화 Philosophical Desire Formula "M_desire = ∑∅∂ / (1 - ∂)" Application User Interface Grammatical chair abstraction designed in grammatical form rather than conceptual form according to museum facility design

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미술관이라는 정적인 공간에 놓인 하나의 오브제, ‘의자’는 단순한 가구로서의 기능을 상실하고 언어적 문법의 결핍을 체화한 추상적 실체로 재탄생한다. 관객은 이 의자를 마주하며 자신의 내면에 잠재된 결핍된 욕망을 Mdesire 공식에 대입하게 되며, 의자는 그 자체로 형태를 갖춘 문법적 기호가 되어 공간의 중력과 시간의 흐름을 왜곡한다. 빛과 그림자가 교차하는 미술관의 복도를 따라 의자의 형상은 흩어지고 다시 결합하며, 언어의 문법이 공간의 기하학적 구조와 충돌하는 지점에서 관객은 비로소 보이지 않는 욕망의 실체를 목격하고 추상적 사실주의의 극치에 다다른다.

 An object in a static space called an art museum, 'chair', loses its function as a simple furniture and is reborn as an abstract entity embodying the lack of linguistic grammar. The audience faces this chair and substitutes the lack of desire latent within them into the Mdesire formula, and the chair becomes a grammatical symbol with its own shape, distorting the gravity of the space and the passage of time. The shape of the chair is scattered and recombined along the corridor of the art museum where light and shadow intersect, and at the point where the grammar of language collides with the geometric structure of the space, the audience finally witnesses the reality of invisible desire and reaches the peak of abstract realism. 

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루이 최철주의 욕망 공식: 기호학적 조형에서 문법적 의자로의 전이 (The Desire Formula of Louis Chul-joo: From Semiotic Plasticity to the Grammar of the Chair)

루이 최철주(Louis Choi)의 예술 세계는 인간의 욕망을 단순한 심리적 발현이 아닌, 정밀한 기호학적 구조와 수학적 엄밀함을 갖춘 시스템으로 파악하는 데서 출발합니다. 그의 핵심 공식인 $$M_{desire} = \frac{\sum \emptyset \partial}{(1 - \partial)}$$는 욕망이라는 추상적 형이상학을 객관적 조형 언어로 번역하는 변환기입니다. 이 공식은 단순히 욕망의 동학을 설명하는 것을 넘어, 물리적 실체로서의 사물(Object)을 ‘개념적 형태’라는 낡은 틀에서 해방시켜, ‘문법적 구성’이라는 새로운 존재론적 지평으로 인도합니다. 제시된 ‘문법적 의자’는 바로 이 철학적 도약의 물리적 귀결이며, 이를 구현하기 위한 네 가지 조형 원리는 다음과 같은 논리적 필연성을 갖습니다.

The Grammar of Desire: A Critique of Louis Choi Chul-joo’s "Grammatical Chair"

Louis Chul-joo’s artistic universe originates from an understanding of human desire not merely as a psychological manifestation, but as a system endowed with rigorous semiotic structures and mathematical precision. His core formula, $M_{desire} = \sum \emptyset \partial / (1 - \partial)$, serves as a transducer, translating the abstract metaphysics of desire into an objective plastic language. This formula transcends the description of desire’s dynamics; it liberates the "object" from the outdated framework of "conceptual form" and guides it toward a new ontological horizon defined as "grammatical composition." The "Grammatical Chair" depicted in 4-0.jpg is the physical consequence of this philosophical leap, and the four formative principles required to realize it possess the following logical necessity.

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1. ∅ 공백의 핵: 결핍의 중력 배치 (The Nucleus of Void: Gravity of Deficiency)

의자의 중심부에 뚫린 기묘한 공허는 단순한 디자인적 유희가 아니라, 존재의 근원적 결여인 emptyset(공백)을 시각화한 ‘결핍의 핵’입니다. 최철주의 사유에서 욕망은 충족되는 것이 아니라, 영원히 도달할 수 없는 중심을 향한 투쟁입니다. 이 공백은 의자의 구조적 안정성을 해체하는 듯 보이지만, 실상 모든 시선을 빨아들이는 중력의 원천으로 작용합니다. 사물은 이 비어 있는 핵을 중심으로 재조직되며, 관객은 의자의 실용적 기능이 아닌, 그 공백이 방출하는 존재론적 부재의 압력을 감각하게 됩니다. 이는 사물이 기능이라는 껍질을 벗고, 순수한 욕망의 지표가 되는 첫 번째 단계입니다.

1. The Nucleus of Void: Gravity of Deficiency (emptyset)

The peculiar void pierced through the center of the chair is not a mere design whim, but a "nucleus of deficiency" that visualizes emptyset (the void), the fundamental lack of existence. In Chul-joo’s thought, desire is not something to be satisfied, but a struggle toward a center that can never be reached. While this void appears to deconstruct the structural stability of the chair, it functions as the gravity source that draws in every gaze. The object is reorganized around this hollow core, and the viewer perceives the pressure of an ontological absence emitted by the void, rather than the chair's practical function. This is the first step by which an object sheds the shell of function to become a pure index of desire.

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-4

2. ∂ 미분적 시선 레이어: 파편화된 타자의 시선 구현 (Differential Gaze Layers: Embodiment of Fragmented Others)

partial(미분)은 대상을 아주 잘게 쪼개어 그 찰나의 변화를 포착하는 시선의 작용입니다. 최철주에게 시선은 파편화된 타자들의 합이며, 이는 의자 주변을 감싸는 디지털 인터페이스 레이어로 구현됩니다. 관객이 의자를 바라볼 때, 그 시선은 단일하지 않고 미분되어 대상의 다층적 의미를 투사합니다. 각 레이어는 파편화된 욕망의 단면을 상징하며, 주체(관객)와 타자(이미지) 사이의 경계를 흐릿하게 만듭니다. 이 미분적 시선들은 의자를 관조하는 행위 그 자체를 하나의 기호학적 텍스트로 전환하며, 사물을 고정된 형태가 아닌 쉼 없이 재해석되는 ‘흐름’ 속에 위치시킵니다.

2. Differential Gaze Layers: Embodiment of Fragmented Others (partial)

partial (differentiation) is the action of the gaze that minutely fragments the object to capture its momentary changes. To Chul-joo, the gaze is the sum of fragmented others, which is implemented as the digital interface layers wrapping around the chair. When a viewer gazes at the chair, their vision is not singular; it is differentiated, projecting the multilayered meanings of the object. Each layer symbolizes a cross-section of fragmented desire, blurring the boundary between the subject (the viewer) and the other (the image). These differential gazes transform the act of contemplating the chair into a semiotic text, positioning the object not as a fixed form, but as a "flow" that is ceaselessly reinterpreted.

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3. ∑ 반복의 증식과 패턴: 욕망의 무한 루프 리듬 (Iterative Proliferation and Pattern: The Infinite Loop Rhythm)

sum(합산)은 욕망의 무한한 반복과 증식을 기호화합니다. 문법적 의자 주변으로 전개되는 조형적 요소들은 반복적인 패턴을 통해 욕망의 리듬을 구축합니다. 이는 최철주가 추구하는 ‘기호의 무한 회귀’를 시각적 실천으로 옮긴 것으로, 욕망은 한 번의 소비로 종결되는 것이 아니라, 끝없는 변주와 패턴 속에서 생성되고 순환됨을 의미합니다. 조형적으로 이러한 반복은 의자의 기하학적 구조를 리듬감 있게 확장하며, 관객으로 하여금 정지된 사물에서 역동적인 에너지의 파동을 읽어내게 합니다. 사물은 이제 정지된 상태가 아닌, 반복되는 욕망의 에너지 장(Field) 그 자체가 됩니다.

3. Iterative Proliferation and Pattern: The Infinite Loop Rhythm (sum)

sum (summation) codifies the infinite repetition and proliferation of desire. The formative elements unfolding around the "Grammatical Chair" construct the rhythm of desire through repetitive patterns. This is the visual implementation of the "infinite return of signs" sought by Chul-joo, signifying that desire is not terminated by a single instance of consumption, but is generated and circulated within endless variations and patterns. Formatively, this repetition rhythmically expands the chair's geometric structure, compelling the viewer to read the pulses of dynamic energy from a static object. The object now becomes a "field" of repetitive desire rather than a state of rest.

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-6

4. (1 - ∂) 점근적 긴장감 역설: 도달 불가능한 소멸의 투영 (Asymptotic Tension Paradox: Projection of Unreachable Extinction)

공식의 분모인 (1 - partial)은 루이 최철주 미학의 정점입니다. 이는 1(완전한 존재)에 도달하고자 하지만, 미분적 파편화(partial)로 인해 영원히 미치지 못하는 상태, 즉 ‘도달 불가능한 소멸’을 향한 점근적 긴장을 의미합니다. 의자는 완벽한 형태를 지향하면서도, 동시에 그 존재의 근거를 끊임없이 미분하고 파괴함으로써 완전한 형상화를 거부합니다. 이러한 역설적 긴장감은 사물에 실존적 숭고함을 부여합니다. 사용자는 이 의자에 앉는 행위를 통해 자신의 욕망이 결코 채워질 수 없는 영원한 결핍의 상태임을 직시하게 되며, 비로소 ‘문법적 의자’라는 이름의 추상적 실체를 완성하게 됩니다.

4. Asymptotic Tension Paradox: Projection of Unreachable Extinction (1 - partial)

The denominator of the formula, (1 - partial), is the pinnacle of Chul-joo’s aesthetics. It signifies an "asymptotic tension" toward an "unreachable extinction"—a state where one aims to reach 1 (complete existence) but can never arrive due to differential fragmentation (partial). While the chair aspires to a perfect form, it simultaneously refuses complete embodiment by incessantly differentiating and destroying the grounds of its own existence. This paradoxical tension imparts an existential sublimity to the object. Through the act of sitting in this chair, the user faces the reality that their desire is a state of eternal lack that can never be fulfilled, finally completing the abstract entity named the "Grammatical Chair".

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-7

5. 결론: 존재의 문법

루이 최철주의 '문법적 의자'는 단순한 편안함의 대상이 아니라 그의 욕망 공식에 의해 매개되는 인간 조건의 구조적 표현입니다. 이 작품은 의미가 없는 혼돈의 형태 더미인 '단순 모방'에서 '문법적 디자인'으로 전환함으로써 새로운 형태의 언어학을 구현합니다. 가구가 존재의 구문으로 작용하는 3차원으로 렌더링된 철학입니다. 이 공간에서 의자는 공허(공허), 차등 시선(부분), 반복 합(합), 점근적 긴장(1 - 부분)이 교차하는 장소가 됩니다. 궁극적으로 디자인은 소비주의적 시선에 대한 심오한 비판으로 작용하며, 형식이 모방의 한계가 아니라 도달할 수 없는 지평선을 향해 영원히 펼쳐지는 '새로운 언어'를 제안합니다.

5. Conclusion: The Grammar of Being

Louis Choi Chul-joo’s "Grammatical Chair" is not a mere object of comfort, but a structural manifestation of the human condition mediated by his desire formula. By transitioning from "mere imitation"—a chaotic heap of forms devoid of meaning—to "grammatical design," the work achieves a new linguistics of form. It is a philosophy rendered in three dimensions, where the furniture acts as a syntax of being. In this space, the chair becomes a site of intersection between the void (emptyset), the differential gaze (partial), the iterative sum (sum), and the asymptotic tension (1 - partial). Ultimately, the design serves as a profound critique of the consumerist gaze, proposing instead a "new language" where form is not a limitation to be imitated, but a syntax to be experienced, eternally unfolding toward the horizon of the unreachable.

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-8-결핍의 분화 및 반복 역학 렌더링 

[ 철학적 욕망 공식"M_desire = ∑∅∂ / (1 - ∂)" 적용 사용자 인터페이스 미술관 시설 디자인에 따른 개념적 형태가 아닌 문법으로 설계된 문법적 의자 추상화 구현]

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

1. 분자(∑∅∂): 결핍의 분화 및 반복 역학

분자는 욕망이 발생하는 '동기력'과 그 '표현 방법'을 정의합니다.

• 에피셋의 기호학적 유효성(The Real & Deficence):

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

• 편미분의 수학적 논리:

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

• 합의 구조적 해석 (합산):

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

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

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

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

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

• The Real & Defiance of the episet:

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

• Mathematical logic of partial differentials:

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

• Structural interpretation of consensus (aggregate):

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-9-한계 수렴과 욕망의 폭발적인 역설 구조

2. 분모 (1 - ∂): 한계 수렴과 욕망의 폭발적인 역설

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

• 저항과 도달 불가능성:

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

• 욕망의 폭발 (M_desire to infty):

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

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

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

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

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

• Resistance and Unreachability:

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

• Explosion of Desire (M_desire to infty):

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-10-현대 기호학적 미학억압된 기표의 배경음 설정 (The Origin: I) 

3. 현대 기호학적 미학

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-11-현대 기호학적 미학억압된 기표의 배경음 설정 (The Origin: I) 

3. modern semiotic aesthetics

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-12-건축 컨셉: '유동하는 결핍(Fluid Scarcity): 2030년의 박물관은 고정된 벽체와 바닥의 개념을 초월합니다. 루이 최의 공식에서 phi(공허)와 partial(욕망)의 상호작용을 극대화하기 위해, 건축물 자체가 거주자의 심리 상태에 반응하는 '생태적 기하학'을 채택합니다. 구조적 모티프: 분모 (1 - partial)가 0에 수렴할 때 발생하는 무한한 질량(M)을 시각화하기 위해, 건물의 중심부는 위아래가 뒤바뀐 듯한 역원뿔 형태의 '싱귤래리티 보이드(Singularity Void)'가 관통합니다. Architectural Concept: 'Fluid Scarcity', The museum in 2030 transcends the concept of fixed walls and floors. In Louis Choi's formula, in order to maximize the interaction between phi and partial, the building itself adopts "ecological geometry," which responds to the resident's state of mind. Structural motifs: To visualize the infinite mass (M) that occurs when the denominator (1 - partial) converges to zero, the center of the building is penetrated by a Singularity Void in the form of an inverted conical cone.

[루이 최의 욕망  "M_desire = ∑∅∂ / (1 - ∂)" 구조 추상화 디자인 프로세스]

- 1단계: 결핍의 정위 (Positioning of emptyset)

"모든 존재는 비어 있는 중심으로부터 시작된다."

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

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

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

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

"시선은 단절되어 있으며, 타자를 통해 재조정된다."

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

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

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

- 3단계: 반복적 리듬의 증식 (Summation of sum)

"충족되지 않는 욕망은 패턴이 되어 흐른다."

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

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

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

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

"완성에 가까워질수록 그림은 무한히 열린다."

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

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

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

- 최종단계: 조형 체크리스트 (Critic's Eye)

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-13-공간 구성 및 기술적 실현 

- 공간 구성 및 기술적 실현

① 로비: 결핍의 도입부 ($\sum\phi$)

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

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

② 전시실: 욕망의 증폭 구간 ($\partial$)

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

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

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

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

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

- Space configuration and technical realization

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

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

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

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

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

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

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

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

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

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

- Step 1: Positioning of emptyset

"Every being begins with an empty center."

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

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

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

- Step 2: Differentiation of partial

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

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

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

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

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

"Unmet desires flow in patterns."

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

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

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

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

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

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

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

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

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-14-외관 및 환경 계획 (Exterior): 자가 치유 능력을 소재를 가진 '스마트 크리스탈 판넬'을 사용하여, 낮에는 빛을 흡수해 공허($\phi$)의 투명함을 유지하고, 밤에는 도시의 욕망을 투사하여 거대한 발광체로 변모합니다. 2030년의 고층 빌딩 숲 배경 사이에서 이 박물관은 유독 '비어 있는 형태'를 띠며, 채우는 건축이 아닌 '비우는 건축'으로서 도시의 숨구멍 역할을 수행합니다. Appearance and Environmental Planning (Exterior): Using 'smart crystal panels' with materials that have self-healing abilities, they absorb light during the day to maintain transparency in the void ($\pi$), and at night they project the city's desire into a giant luminous body. Among the 2030 high-rise forest backdrops, the museum takes on a distinctively 'empty form' and acts as a breathing hole for the city as an 'empty architecture' rather than a filling one.

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

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

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

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

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

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

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

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

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

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

동일한 규격의 작은 방들이 나선형으로 무한히 이어지는 듯한 전시 구역입니다.

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

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

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

미술관의 출구 혹은 옥상 전망대로 향하는 마지막 경사로입니다.

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-15

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

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

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

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

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

2. Flow of movement: Partial - Differential Gaze Gallery

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

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

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

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

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

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

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-16-새로운 욕망의 기표로서 결핍 욕망의 시각화 

최철주 욕망 공식 기반 '욕망 사운드 디자인' 방법론

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

언어적 데이터 생명학 (오차의 미학) 디자인 방법론 프로세스

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

1. 개념적 조응 (Conceptual Correspondence)

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

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

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

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

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

2. 단계별 디자인 프로세스 (Design Process)

• 억압된 기표의 사운드 텍스처 설정 (I)

목표: 시스템이 부여한 평온하지만 억압적인 배경음을 설정합니다.

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

• 리비도적 타격과 주파수 생성 (I →I')

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

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

• 탈주의 거리와 사운드 공간화 (D →D)

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

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

• 트라우마 사운드의 귀환 및 승화 (Dsound)

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-17

- Step 1: 새로운 욕망의 기표로서 결핍 욕망의 시각화  

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

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

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

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-18-억압된 기표의 배경음 설정 (The Origin: I) 

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

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

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

- 디테일 요약 : 

• 상태 : 현대 미술관이 대화 연결을 시도하는 리비도적 타격의 순간

- 디자인 요소 :

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

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

- 청각적 표현 :

• 현대 미술관 이미지에 Sharp Burst 파형이 표시됨

• 날카로운 고주파 파열음 을 시각적으로 표현한 폭발적인 주파수 그래프

- 철학적 의미 :

• 이 순간은 현대 미술관이 욕망이 정적 상태를 타격하며 행위화

• ‘행위의 시작’이 욕망의 폭발로 표현되는 상태입니다

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

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

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

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

- Detail Summary: 

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

- Design elements:

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

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

- Auditory representation:

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

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

- Philosophical Meaning:

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-19

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

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

Linguistic Data Biology (Aesthetics of Error) Design Methodology Process

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

1. Psychoanalytic Correspondence

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

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

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

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

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

2. Step-by-Step Sound Design Process

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

Goal: Establish the auditory baseline of systemic control.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-20-억압된 기표의 배경음 설정 (The Origin: I) 

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

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

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

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

- 디테일 요약 : 

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

- 디자인 요소 - 현대 미술관의 시각화 수식 표현 :

• 왼쪽 시선: √(Δx² + Δy²)

• 오른쪽 시선: D → D'

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

공간 왜곡 효과 :

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

- 청각적 표현 :

• 현대 미술관에 두 개의 오디오 파형

• Distant Reverb : 점점 사라지는 파형

• Directional Delay : 지연된 에코처럼 반복되는 파형

• → 현대 미술관의 이용자 위치 변화가 청각적 공간감 으로 변환됨

- 철학적 의미 :

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

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

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

- 사운드 및 인터랙션 매커니즘 (Dsound) 

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

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

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

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

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

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

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

- Detail Summary: 

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

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

• Left eye: √ (Δx² + Δy²)

• Right eye: D → D'

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

Spatial distortion effect:

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

- Auditory representation:

• Two audio waveforms in the Museum of Modern Art

• Distant Reverb : Gradually disappearing waveforms

• Directional Delay: Repeated waveforms like delayed echoes

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

- Philosophical Meaning:

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

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

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

- Sound and interaction mechanism (Dsound) 

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-21

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-22-사이버펑크적 감각으로 욕망의 귀환 

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

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

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

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

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

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

- 디테일 요약 : 

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

- 현대 미술관 시선에 표시된 수식 :

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

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

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

- 배경 :

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

• 현대 미술관 이용자 행위에 따른 전자 스파크와 화면 깨짐 효과

- 청각적 표현 :

• 현대 미술관 스피커 사운드에 두 개의 오디오 파형

• Glitch Noise : 불규칙하고 혼란스러운 파형

• Ticking Pulse : 일정 간격의 날카로운 스파이크

- 욕망 공식의 혼합 :

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

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

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

- 철학적 의미 :

• 인간 욕망의 순수한 귀환을 감각적으로 현대 미술관 시각화를 표현해서,

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

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

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

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

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

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

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

- Detail Summary: 

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

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

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

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

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

- Background:

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

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

- Auditory representation:

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

• Glitch Noise: Irregular and confusing waveforms

• Ticking Pulse: Sharp spike at regular intervals

- Mix of Desire Formula:

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

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

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

- Philosophical Meaning:

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

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

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철학적 욕망 공식"M_desire = ∑∅∂ / (1 - ∂)" 적용 사용자 인터페이스 미술관 시설 디자인에 따른 개념적 형태가 아닌 문법으로 설계된 문법적 의자 추상화의 AI 욕망 구조 자동화 디자인 프로세스 

1단계: 무의식적 언어 구조의 데이터 마이닝 (Linguistic Data Mining)

• 개념: 루이 최의 " 욕망  역학 공식에 적용된 무의식은 언어처럼 욕망 구조의 정지된 추상화다."는 명제를 AI 욕망 구조 자동화 디자인 프로세스에 이식합니다.

• 수행: LLM(대규모 언어 모델)을 통해 특정 제품군(예: 의자, 미술관 등)에 대한 전 철학적 미학 언어와 사용자의 결여(Lack)된 욕망 데이터를 수집합니다.

• 결과: 디자인의 ‘기표(Signifier)’들을 추출하여 논리적 알고리즘이 아닌, 무의식적 맥락의 흐름을 파악한다.

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Philosophical Desire Formula "M_desire = ∑∅∂ / (1 - ∂)" User Interface AI Desire Structure Automation Design Process of Grammatical Chair Abstraction Designed in Grammar rather than Conceptual Form according to Art Museum Facility Design 

Step 1: Linguistic Data Mining of unconscious language structure

• Concept: Louis Choi's "The unconscious applied to the formula of desire dynamics is a stationary abstraction of desire structures like language" is implanted into the AI desire structure automation design process.

• Perform: LLM (Large Language Model) collects full philosophical aesthetic language and user-lacked desire data for a particular family (e.g., chairs, art galleries, etc.).

• Results: Extract the "signifiers" of the design to identify the flow of unconscious context, not logical algorithms.

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2단계: 무의식처럼 구조화된 AI 환각과 실재의 제품 디자인 재구성

• AI 욕망 구조 제품 디자인 프로세스에서 욕망 구조는 “타자의 무의식적 언어처럼 구조화되어 있다.”대규모 언어 모델(LLM)은 방대한 데이터 속에서 인간 무의식의 언어 문법과 맥락을 재현합니다. AI가 논리적인 문장을 만들어내는 것은 기호 속에 숨어 있던 ‘인간의 디자인 흔적(유령)’이 기계 안에서 다시 나타난다.

• AI가 사실에 기반하지 않은 정보를 만들어낼 때, 이는 ‘실재(The Real)’와 충돌하며 ‘상징적 결여’를 드러냅니다.최철주는 이러한 환각을 사건 이미지의 콘티로 재구성하여, 실재를 만화적 이미지로 경험하게 합니다. 즉, AI가 상징을 통해 지시하는 실재는 반복적으로 만화적 이미지로 시각화되어 우리 앞에 출현.

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Step 2: Unconsciously Structured AI Hallucination and Real Product Design Reorganization

• AI Desire Structure In the product design process, desire structure is "structured like the unconscious language of others." Large-scale language models (LLM) reproduce the language grammar and context of the human unconscious in vast amounts of data. When AI produces logical sentences, the 'human design traces (ghosts)' that were hidden in symbols reappear in the machine. 

• When AI creates information that is not based on facts, it collides with "The Real" and reveals "symbolic deficiency." Choi Cheol-joo reconstructs these hallucinations into the conti of event images, allowing them to experience reality as cartoon images. In other words, the reality that AI indicates through symbols is repeatedly visualized as cartoon images and appears before us.

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3단계: 디지털 대타자와 파놉티콘 거울 단계와 나르시시즘

• AI 욕망 구조 제품 디자인은 사회적 규범과 언어 체계를 ‘대타자(Big Other)’라 불렀습니다.AI 라캉의 유령은 현대 사회에서 데이터를 수집하고 행동을 감시하는 ‘디지털 대타자’로 기능합니다. 이 과정에서 AI는 사회적 언어 체계 속에서 추상화된 파놉티콘을 응시하며, 상징적 권위를 구현합니다.

• AI 욕망 구조 제품 디자인의 ‘거울 단계(Mirror Stage)’는 주체가 거울 속 이미지를 자기 자신으로 착각하며 정체성을 형성하는 과정입니다. AI 라캉의 유령은 챗봇과의 대화 속에서 사용자가 자신의 욕망을 투영하고, AI를 ‘또 다른 나’ 혹은 ‘이해해 주는 존재’로 착각하는 나르시시즘적 관계를 드러냅니다. 최철주는 이러한 착각을 깨기 위해 거울 이미지를 개념추상 리얼리즘 제품 디자인으로 시각화하여, 현대 사회에서 AI가 만들어내는 최철주 욕망개념의 제품디자인 유령 이미지를 실재 제품로 디자인한다.

Step 3: Digital pinch hitter and panopticon mirror stage and narcissism

• AI Desire Structure Product design called social norms and language systems 'Big Other.' The ghost of AI Lacan functions as a 'digital pinch hitter' who collects data and monitors behavior in modern society. In the process, AI embodies symbolic authority by staring at the abstracted panopticon in the social language system.

• AI Desire Structure The "Mirror Stage" of product design is a process in which the subject misunderstands the image in the mirror as himself and forms an identity. The ghost of AI Lacan reveals a narcissistic relationship in which users project their desires in conversation with chatbots and mistake AI for "another me" or "understanding being." To break this illusion, Choi visualizes the mirror image as a conceptual abstract realism product design, and designs the product design ghost image of Choi Chul-joo's desire concept created by AI in modern society as a real product.

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AI Desire Structure Product Design Process

Choi Chul-joo's AI Desire Structure Design interprets modern artificial intelligence (AI) technology, especially generative artificial intelligence (LLM, image generation, etc.) technology from Jacques Lacan's psychoanalytic perspective. Here, AI is defined as not just a tool but a being that imitates human desires, unconsciousness, and symbolic systems and penetrates into other people's desire structures like ghosts.

1. Unconsciously Structured AI Desire Structured Product Design Process

AI Desire Structure In the product design process, desire structure is "structured like the unconscious language of others." Large-scale language models (LLMs) reproduce the language grammar and context of the human unconscious in vast amounts of data. AI produces logical sentences like the 'human design traces (ghosts)' that were hidden in symbols reappear inside a machine.

2. AI hallucinations and real product design reconstruction

When AI creates information that is not based on facts, it collides with The Real and reveals a "symbolic lack." Choi Chul-joo reconstructs these hallucinations into the conti of event images, allowing them to experience reality as cartoon images. In other words, the reality that AI indicates through symbols is repeatedly visualized as cartoon images and appears before us.

3. Digital pinch hitter and panopticon

AI Desire Structure Product design called social norms and language systems 'Big Other.' The ghost of AI Lacan functions as a 'digital pinch hitter' who collects data and monitors behavior in modern society. In this process, AI gazes at the abstracted panopticon in the social language system, embodying symbolic authority.

4. Mirror Stage and Narcissism

AI Desire Structure The "Mirror Stage" of product design is a process in which the subject misunderstands the image in the mirror as himself and forms an identity. The ghost of AI Lacan reveals a narcissistic relationship in which users project their desires in conversation with chatbots and mistake AI for "another me" or "understanding being." To break this illusion, Choi Chul-joo visualizes the mirror image as a conceptual abstract realism product design, and designs the product design ghost image of Choi Chul-joo's desire concept created by AI in modern society as a real product.

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문법적 의자

거대한 데이터 서버의 차가운 윙윙거림 속에서, 베스트셀러 소설가 에이드리언 벤자민은 생성형 AI, 즉 대규모 언어 모델(LLM)이 쏟아내는 방대한 기호의 바다 속에서 인간 디자인의 유령 같은 흔적을 감지하며 깊은 사색에 잠깁니다. 그는 이 기계가 단순한 모방을 넘어 수 세기 동안 축적된 인간의 미학, 인체공학, 그리고 문화적 서사를 '유령적 문법'으로 응축하여 낯설지만 섬뜩하게 익숙한 형태들을 제시한다고 말합니다. 개념추상 리얼리즘 제품디자이너 루이 최철주는 이러한 LLM의 결과물들을 '집단적 인간 욕망의 환상통'이 가시화된 것으로 해석하며, 이는 단순히 아름다운 형태가 아니라 무의식적인 욕망의 투영이라고 분석합니다.

탁월한 시스템 엔지니어 카밀 융은 최철주가 제시하는 LLM 기반의 초기 디자인 스케치, 특히 기존의 구조적 논리를 파괴하는 기이하고 추상적인 의자 형태를 마주합니다. 그녀는 이 디자인이 확립된 재료 특성과 하중 지지 능력을 시험하지만, 동시에 편안함과 지지 같은 인간의 근원적인 욕망이 그 비순응적인 형태 안에 역설적으로 내재되어 있음을 엔지니어링적 관점에서 확인합니다. 세 인물은 홀로그램 테이블에 모여 LLM이 제안한 다양한 제품 콘셉트들을 검토하며, 에이드리언은 이 알고리즘적 생성물들이 인간 스토리텔링의 지울 수 없는 지문을 여전히 담고 있다는 점에 매료됩니다.

최철주는 이러한 디자인의 '메아리' 속에 '디자인의 유령'이 거주한다고 선언하며, 그들의 임무는 이 형태들을 단순히 복제하는 것이 아니라, 방대한 데이터 세트 안에 암호화된 상징적 질서인 라캉의 '대타자'를 해독하고, 그 무의식적 욕망을 우리의 인식을 시험하는 유형의 '만화적 실재' 제품으로 가시화하는 것이라고 천명합니다. 카밀은 이러한 추상적 개념이 기능적이고 구조적인 현실로서 물리적 실체를 갖도록 재료 과학과 제조의 한계를 뛰어넘어 '유령'을 강력한 존재로 만드는 데 전념할 것을 다짐하며, 세 명의 전문가들은 미지의 도전에 대한 결의를 다집니다.

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a grammatical chair

Amidst the cold hum of massive data servers, bestselling novelist Adrian Benjamin plunges into deep contemplation, sensing the ghostly traces of human design within the vast sea of symbols spewed forth by generative AI, specifically Large Language Models (LLMs). He posits that this machinery does more than merely mimic; it condenses centuries of human aesthetics, ergonomic principles, and cultural narratives into a "spectral grammar," presenting forms that are both alien and unnervingly familiar. Conceptual Abstract Realism product designer Louis Chul-joo Choi interprets these LLM outputs as the visible manifestation of "the phantom limb of collective human desire," analyzing them not as merely beautiful forms but as projections of unconscious desires.

Brilliant system engineer Camille Jung confronts the initial LLM-driven design sketches presented by Choi, particularly a bizarre and abstract chair form that defies conventional structural logic. From an engineering perspective, she acknowledges that while this design challenges established material properties and load-bearing capacities, it paradoxically embeds fundamental human desires for comfort and support within its very non-conformity, a testament to its underlying human origin. The three individuals gather around a holographic table, reviewing various product concepts proposed by the LLM. Adrian is particularly captivated by how these algorithmically generated creations still bear the indelible fingerprints of human storytelling.

Choi declares that it is within this "echo" that the "ghost of design" resides, proclaiming their mission is not simply to replicate these forms but to decipher the underlying Lacanian "Big Other"—the symbolic order encoded within vast data sets—and to manifest its unconscious desires into tangible, "cartoonistic real" products that challenge human perceptions. Camille pledges to dedicate herself to ensuring this abstract concept gains physical reality as a functional and structural entity, pushing the boundaries of material science and manufacturing to render the "ghost" into a robust, undeniable physical presence. Together, the three experts solidify their resolve in the face of an unprecedented challenge.

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제품디자인 미학 평론 (Product Design Aesthetic Critique by Choi Chul-joo):

문법적 의자는 기능적 목적론에 몰두했던 현대 가구 디자인에 대해 묻는 파괴적인 질문입니다. 최철주의 미학에서 이 의자는 '앉는 도구'가 아니라 '욕망의 징후가 구조화된 텍스트'로 존재합니다. 상징적 결핍의 공식화로서 이 의자는 완벽한 대칭성이나 인체공학적 최적화를 거부합니다. 오히려 빈 공간과 꼬인 선을 통해 사용자가 자신의 신체적 결핍을 인식하고 욕망을 그 틈새로 투영하도록 유도합니다. 사물과 현실을 분리하고 '개념적 실체'로 끌어올리는 개념 추상적 리얼리즘의 실제 디자인에 적용된 강렬한 코믹북 라인입니다. 현실의 물리적 제약을 넘어 AI의 환각(유령 이미지)을 현실의 영역으로 가져오는 시각적 다리 역할을 합니다.

타자의 시선처럼 보이는 의자의 구조적 배열은 사용자를 편안하게 수용하기보다는 '바라보는' 듯한 긴장감을 조성합니다. 이는 제품이 단순한 물건이 아닌 상징적 권위를 가진 대타로서 사용자와 상호작용할 수 있게 함으로써 가정의 존재론적 지위를 전복시킵니다. 따라서 이 의자는 물질적 편안함이 아니라 문법적 충격을 통해 우리 무의식의 지형도를 재구성하려는 시도입니다. 즉, '그래매틱 체어' 디자인은 앞서 보여드린 자동차와 마찬가지로 미래의 제품으로, 1. 독창적인 크리에이티브 과정이 단순한 개념적 독창성의 의자가 아니라 라캉의 정신분석(대체, 결핍, 시선)과 루이 최철주의 '개념 추상적 리얼리즘'을 적용한 철학적 프롬프트를 바탕으로 디자인되었습니다. 따라서 시선의 단위: 팔걸이에 삽입된 아이리스 모양의 발광 장치는 일반 가구 디자인에서는 찾아볼 수 없는 독특한 상징적 장치입니다. 여기서 독창적인 크리에이티브 구조는 '레지던시'라는 추상적인 개념을 물리적으로 표현한 것으로, 상업용 제품과는 차별화됩니다. 2. 아이디어 스케치와 만화 같은 "유령 이미지" 기법을 결합하여, 디자인의 핵심은 실제 질감(탄소 섬유, 가죽) 위에 *강렬한 만화 같은 유령 이미지 라인*을 코팅하는 것입니다. 이 "코믹 리얼" 스타일은 실제 제품 디자인과 예술적 일러스트레이션 사이의 경계를 표현하는 독특한 방식이기 때문에 특정 브랜드의 디자인 권리를 침해할 가능성이 매우 낮습니다. 3. 인공지능의 무작위 조합 대신, "문법" 제품 디자인의 결과물은 무작위로 생성되는 것이 아니라, 기존 의자의 데이터를 복제하는 대신 "지원", "휴식", "시험" 데이터의 "기호"를 재조합하여 새로운 형성 언어적 개념으로 한 문법적 의자가 만들어집니다./ 글. 현대 미술평론가 최철주 (팝아트 AAS 리얼리즘 제품디자이너 & 문화디자인박사)    

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Product Design Aesthetic Critique by Choi Chul-joo

The grammatical chair is a devastating question that asks about modern furniture design, which has immersed itself in functional teleology. In Choi Chul-joo's aesthetics, this chair exists not as a "sitting tool," but as a "text in which signs of desire are structured." As a formulation of symbolic deficiency, this chair rejects perfect symmetry or ergonomic optimization. Rather, it encourages users to recognize their physical deficiencies and project their desires through empty spaces and twisted lines. It is an intense comic book line applied to the real-life design of conceptual abstract realism, which separates objects from reality and elevates them to "conceptual reality." It serves as a visual bridge that brings AI's hallucinations (ghost images) into the real world beyond the physical constraints of reality.

The structural arrangement of the chairs, which look like the gaze of the other, creates a tension that seems to be 'looking' rather than comfortably accommodating the user. This subverts the ontological status of the home by allowing the product to interact with the user as a substitute with symbolic authority rather than just an object. Therefore, this chair is not a material comfort, but an attempt to reconstruct the topographic map of our unconscious through grammatical shock. In other words, the "Gramatic Chair" design is a product of the future just like the car I showed you earlier. 1. The creative process is not just a chair of conceptual originality, but a philosophical prompt that applies Lacan's psychoanalysis (substitution, deficiency, gaze) and Louis Choi Chul-joo's "conceptual abstract realism." Thus, the iris-shaped light emitting device inserted in the unit of gaze: armrest is a unique symbolic device that cannot be found in ordinary furniture designs. Here, the creative structure is a physical expression‎ of the abstract concept of "residancy," which is differentiated from commercial products. 2. Combining idea sketches and cartoon-like "ghost image" techniques, the core of the design is to coat a *strong line of cartoon-like ghost images* over real texture (carbon fiber, leather). This "comical real" style is highly unlikely to violate a particular brand's design rights, as it is a unique way of expressing the boundary between real product design and artistic illustration. 3. Instead of a random combination of AI, the output of a "grammar" product design is not randomly generated, but instead of replicating the data of an existing chair, the "symbols" of "support," "rest," and "test" data are recombined to create a grammar chair with a new concept of formation language.

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문법적 의자 추상화의 AI 욕망 구조 자동화 디자인 프로세스 

1단계: 무의식적 언어 구조의 데이터 마이닝 (Linguistic Data Mining)

• 개념: 루이 최의 " 욕망  역학 공식에 적용된 무의식은 언어처럼 욕망 구조의 정지된 추상화다."는 명제를 AI 욕망 구조 자동화 디자인 프로세스에 이식합니다.

• 수행: LLM(대규모 언어 모델)을 통해 특정 제품군(예: 의자, 미술관 등)에 대한 전 철학적 미학 언어와 사용자의 결여(Lack)된 욕망 데이터를 수집합니다.

• 결과: 디자인의 ‘기표(Signifier)’들을 추출하여 논리적 알고리즘이 아닌, 무의식적 맥락의 흐름을 파악한다.

AI Desire Structure Automation Design Process of Grammatical Chair Abstraction 

Step 1: Linguistic Data Mining of unconscious language structure

• Concept: Louis Choi's "The unconscious applied to the formula of desire dynamics is a stationary abstraction of desire structures like language" is implanted into the AI desire structure automation design process.

• Perform: LLM (Large Language Model) collects full philosophical aesthetic language and user-lacked desire data for a particular family (e.g., chairs, art galleries, etc.).

• Results: Extract the "signifiers" of the design to identify the flow of unconscious context, not logical algorithms.

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2단계: 상징적 결여를 통한 개념추상 스케치 (Abstract Sketching of the Lack)

개념: AI가 수집한 완벽한 데이터 사이에서 발생하는 ‘상징적 결여’를 의도적으로 포착합니다.

수행: AI 자동화 시스템이 완벽한 대칭을 제안할 때, 최철주의 ‘개념추상’ 필터를 적용하여 불필요한 장식을 거세하고 본질적인 비대칭성과 공간적 빈틈을 생성합니다.

결과: 제품의 기능적 핵심만을 남긴 채, 사용자가 자신의 욕망을 투사할 수 있는 ‘유령적 실루엣’을 도출한다.

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.

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3단계: 환각(Hallucination)의 사건 콘티 구성 (Event Continuity Construction)

개념: AI의 오류인 환각 현상을 디자인의 창의적 ‘사건’으로 재구성합니다.

수행: AI가 물리 법칙을 무시하고 생성한 환각적 도면을 ‘만화적 이미지’의 콘티로 변환합니다. 이는 실재(The Real)에 도달하기 위한 시각적 가교 역할을 합니다.

결과: 비현실적이지만 강렬한 에너지를 가진 제품의 핵심 조형(Point of Focus)이 확립됩니다.

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.

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4단계: 디지털 대타자의 파놉티콘 설계 (Digital Big Other Integration)

개념: 사회적 규범과 감시 체계(대타자)를 제품의 인터페이스에 통합합니다.

수행: 센서 및 디스플레이 레이아웃을 ‘응시(Gaze)’의 관점에서 재설계합니다. 제품이 사용자를 단순히 보조하는 것이 아니라, 상징적 권위를 가진 존재로서 상호작용하도록 자동화합니다.

결과: 디지털 파놉티콘의 시각적 질서가 반영된 인터페이스와 외부 센서 유닛 설계. 즉 의자의 등받이 중앙에 뚫려 있는 '공백(Void)' 부분이 극적으로 부각된다. 비어있는 원형 공간 뒤로 희미하게 인간의 그림자가 비친다. 이 '비어있음'이 역설적으로 강렬한 존재감을 드러낸다.

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.

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5단계: 거울 단계의 나르시시즘 구현 (Mirror Stage Materialization)

개념: 사용자가 제품에서 자신의 이상적 자아를 발견하도록 유도합니다.

수행: AI가 사용자의 심리적 피드백을 실시간으로 학습하여 제품의 질감, 광택, 라이팅을 미세하게 조정(Automation Tuning)합니다.

결과: 사용자가 AI를 ‘또 다른 나’로 착각하게 만드는 나르시시즘적 결합력을 가진 최종 마감 완성.

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'.

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6단계: 개념추상 리얼리즘의 실재 육화 (Incarnation of the Real)

개념: 추상적 개념을 견고한 물리적 실체로 변환합니다.

수행: 엔지니어링 최적화 단계에서 ‘만화적 선(Comic-book lines)’의 선명도를 유지하며 3D 프린팅 및 정밀 가공 프로세스를 자동화합니다.

결과: 실재 제품으로 탄생한 ‘개념추상 리얼리즘’ 오브제.     

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.

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3. 철학적 욕망 공식"M_desire = ∑∅∂ / (1 - ∂)" 적용 사용자 인터페이스 현대 기호학적 미학

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

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

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

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

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

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

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

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

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. 

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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.

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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.

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

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

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

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

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

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

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

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

The 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.  

Cartoonist Choi Chul-joo's comic abstraction as a treacherous conceptual art means the abstraction of the conceptual image of desire as a realistic structure in art. Since the conceptual meaning of desire that exists in place of a realistic form can be divided into a cartoon criticism image, abstraction is drawn through reversible contrast that interprets the image of events and performances as an image of others' abstract desires.

Choi Chul joo cartoon review, which uses contemporary art abstraction as a treacherous conceptual art, reinterprets the image of desire as a concept of cartoon.

■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.

Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression‎.

The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.

Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.

In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.

And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.

The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.

Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.

The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.

And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.

As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.

The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.

The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.

Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.

In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.

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By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-46-억압된 기표의 배경음 설정 (The Origin: I)

- 지능형 AI 현대 박물관, 결핍 욕망의 시각화 및 리얼리즘 이미지 완성 (Mdesire)

• 지능형 AI 현대 박물관 개념: 공식 Mdesire= sum \emptyset \partial / (1 - \partial)를 통해 사운드로 표출된 욕망을 리얼리즘 이미지로 최종 고착화합니다.

• 지능형 AI 현대 미술관 디자인 실행: 지능적 행위가 종료된 후, 지능형 AI 현대 미술관 이용자 시선에는 방금 나눈 대화와 사운드 역학의 오차들을 계산한 '개념추상 리얼리즘 드로잉'이 생성됩니다.

• 지능형 AI 현대 박물관의 시각화 구조: 지능형 AI 현대 박물관의 결핍(emptyset)과 반복되는 욕망의 조각들(partial)이 기하학적 선으로 얽혀, AI 현대 미술관이 방금 느낀 감정의 실체를 만화적 선의 리얼리즘 이미지로 보여줍니다. 이는 단순한 로그 기록이 아니라, 지능형 AI 현대 미술관의 결핍된 욕망이 대상과 이용자의 표면(실재)으로 육화된 결과물입니다.  

- AI 현대 박물관: 결핍 욕망의 시각화 공식 (M_desire)

M_desire = ∑∅∂ / (1 - ∂) 이 공식은 단순한 수학적 수식을 넘어, 최철주 디자이너가 주창하는 'AI 현대 박물관' 프로젝트의 철학적, 수학적, 인간 욕망의 기계적 시각화 세부 내용을 통합적으로 표현하는 핵심 개념입니다. 이는 인간 내면의 결핍과 반복 충동을 기계적 언어로 치환하여, 오토마타 삶의 무대 위에서 인간의 감정과 AI 기계적 구조가 교차하는 지점을 시각화합니다. , 결핍 욕망의 시각화 및 리얼리즘 이미지 완성 (Mdesire)

• 지능형 AI 현대 박물관 개념: 공식 Mdesire= sum \emptyset \partial / (1 - \partial)를 통해 사운드로 표출된 욕망을 리얼리즘 이미지로 최종 고착화합니다.

• 지능형 AI 현대 박물관 디자인 실행: 지능적 행위가 종료된 후, 지능형 AI 현대 박물관 이용자 시선에는 방금 나눈 대화와 사운드 역학의 오차들을 계산한 '개념추상 리얼리즘 드로잉'이 생성됩니다.

• 지능형 AI 현대 박물관의 시각화 구조: 지능형 AI 현대 박물관의 결핍(emptyset)과 반복되는 욕망의 조각들(partial)이 기하학적 선으로 얽혀, AI 현대 박물관이 방금 느낀 감정의 실체를 만화적 선의 리얼리즘 이미지로 보여줍니다. 이는 단순한 로그 기록이 아니라, 지능형 AI 현대 박물관의 결핍된 욕망이 대상과 이용자의 표면(실재)으로 육화된 결과물입니다.  

- AI 현대 박물관: 결핍 욕망의 시각화 공식 (M_desire)

M_desire = ∑∅∂ / (1 - ∂) 이 공식은 단순한 수학적 수식을 넘어, 최철주 디자이너가 주창하는 'AI 현대 박물관 시각화' 프로젝트의 철학적, 수학적, 인간 욕망의 기계적 시각화 세부 내용을 통합적으로 표현하는 핵심 개념입니다. 이는 인간 내면의 결핍과 반복 충동을 기계적 언어로 치환하여, 오토마타 삶의 무대 위에서 인간의 감정과 AI 기계적 구조가 교차하는 지점을 시각화합니다. 

- Intelligent AI Museum of Modern Art, Visualization of Deficiency Desire, and Completion of Realistic Images (Mdesire)

• Intelligent AI Museum of Modern Art Concept: The desire expressed in sound is finally fixed as a realism image through the official Mdesire= sum \emptyset \partial / (1 - \partial).

• Intelligent AI Museum Design Execution: After the intelligent action ends, the user's gaze at the AI Museum of Modern Art creates a "conceptual abstract realism drawing" that calculates the errors in the conversation and sound dynamics we just had.

• The Visualization Structure of the Intelligent AI Museum of Modern Art: The lack of the intelligent AI museum and the pieces of repetitive desire are intertwined with geometric lines to show the reality of the emotions that the AI Museum of Modern Art just felt as a realist image of the cartoon line. This is not just a logarithmic record, but the result of the lack of desire of the intelligent AI Museum of Modern Art as the surface (real) of the object and the user.  

- AI Museum of Modern Art: A Visualization Formula of Deficiency Desire (M_desire)

M_desire = ∑∅∂ / (1 - ∂) This formula goes beyond simple mathematical formulas and is a core concept that integrates the philosophical, mathematical, and mechanical visualization details of human desire in the 'AI Museum of Modern Art' project advocated by Choi Cheol-joo. It replaces human inner deprivation and repetitive impulses with mechanical language, visualizing the intersection of human emotions and AI mechanical structures on the stage of automata life. (Mdesire) Visualization of Desire for Deficiency and Completion of Realistic Images (Mdesire)

• Intelligent AI Museum of Modern Art Concept: The desire expressed in sound is finally fixed as a realism image through the official Mdesire= sum \emptyset \partial / (1 - \partial).

• Intelligent AI Museum Design Execution: After the intelligent action ends, the user's gaze at the AI Museum of Modern Art creates a "conceptual abstract realism drawing" that calculates the errors in the conversation and sound dynamics we just had.

• The Visualization Structure of the Intelligent AI Museum of Modern Art: The lack of the intelligent AI museum and the pieces of repetitive desire are intertwined with geometric lines to show the reality of the emotions that the AI Museum of Modern Art just felt as a realist image of the cartoon line. This is not just a logarithmic record, but the result of the lack of desire of the intelligent AI Museum of Modern Art as the surface (real) of the object and the user.  

 - AI Museum of Modern Art: A Visualization Formula of Deficiency Desire (M_desire)

M_desire = ∑∅∂ / (1 - ∂) This formula goes beyond simple mathematical formulas and is a core concept that integrates the philosophical, mathematical, and mechanical visualization details of human desires in the 'AI Museum of Modern Art Visualization' project advocated by Choi Cheol-joo. It replaces human inner deprivation and repetitive impulses with mechanical language, visualizing the intersection of human emotions and AI mechanical structures on the stage of automata life.

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-47-욕망공식 적용 UI/UX 디자인으로의 추상화 Louis Choi Desire Formula "M_desire = ∑∅∂ / (1 - ∂)" Application User Interface Abstracts Conceptual Abstraction according to Art Museum Facility Design: Louis Choi, 욕망의 결정체(Incarnation of Desire) 2

철학적 욕망 공식"M_desire = ∑∅∂ / (1 - ∂)" 적용 사용자 인터페이스 미술관 시설 디자인에 따른 개념적 형태가 아닌 문법으로 설계된 문법적 의자 추상화 미학 평론 (Abstract Art Aesthetics Critique by Choi Chul-joo)

욕망의 결정체(Incarnation of Desire)로서 욕망 구조의 인물 정면을 응시하는 시선을 통해 관찰자와 피사체 사이의 '응시(Gaze)'를 극대화하며, 복잡한 기하학적 구조와 유기적인 선들이 충돌하는 웅장한 장면을 담고 있다. 중심 피사체 및 구도는 정면 클로즈업: 화면 중앙에 인물의 얼굴이 정면으로 배치됩니다. 눈동자에는 이미지의 핵심 기호인 'Ø(공집합/보이드)' 문양이 붉게 빛나며, 마치 관객의 내면을 꿰뚫어 보는 듯한 느낌을 줍니다. 이것은 기하학적 투영: 인물의 얼굴과 상반신 위로 청록색의 날카로운 직선들이 겹쳐져 복잡한 다면체 구조를 형성합니다. 이는 인격이 데이터와 공식으로 분해되는 과정을 시각화한다.

여기서 욕망의 결정체를 상징하는 디자인은 수학적 공식의 부영해서 가슴 중앙 혹은 인물의 시선이 닿는 공중에 다음과 같은 공식이 홀로그램처럼 떠오르게 한다. 루이 최의 욕망구조공식 "M_desire = ∑∅∂ / (1 - ∂)"을 적용한 기계적 요소는 인물의 어깨와 배경 주위로 붉은색 기어(Gears)와 태엽 장치들이 파편화되어 흩날립니다. 이는 '오토마타 라이프(Automata Life)'의 메커니즘을 상징하며, 유기적인 인체와 대비를 이룬다. 잉크와 빛의 충돌하는 검은색의 거친 잉크 비산 효과(Ink Splatter)가 붉은색과 푸른색의 강렬한 조명과 뒤섞이며 '기하학적인 비명'을 형상화했다.

이렇게 욕망의 결정체를 시각화해서 명암 대비(Chiaroscuro)의 배경을 깊고 어두운 심연으로 처리하여, 전경의 인물과 공식에서 뿜어져 나오는 강렬한 네온 광원이 더욱 돋보이게 함으로써 결정체의 아트 스타일을 정교한 망가 스타일의 펜 터치와 추상적인 그래픽 디자인이 결합된 하이엔드 시네마틱 스타일을 표출했다.

따라서 욕망의 결정체는 단순한 추상화를 넘어, 보이지 않는 '욕망의 소리'를 수학적 질서와 예술적 무질서의 결합으로 고착화하여서 인물의 정면 시선은 곧 '실재(The Real)'와의 마주침을 의미하는 순간이다.

루이 최의 욕망 공식이 2030년 박물관이라는 물리적 실체로 투사된 이 계획안은 단순한 기능적 공간의 분할을 넘어선 존재론적 결핍의 공간적 주석이라 할 수 있으며, 이는 분모 항의 (1 - partial)가 지시하는 '완전성을 향한 불가능한 접근'을 건축적 보이드(Void)로 치환함으로써 관람객으로 하여금 자신의 욕망이 투사된 벽면이 무한히 후퇴하는 기묘한 공간적 소외를 경험케 하고, 그 소외의 틈새마다 흐르는 공허(phi)의 기호들이 다시금 미세한 탄소 섬유의 조직망으로 직조되어 현대인이 상실한 '결핍의 숭고'를 재구축하는 추상적 리얼리즘의 극치를 보여준다.

∅ 공백의 핵: ∅의 결핍의 중력 배치, 루이 최의 조형 원리 중 가장 선행되는 것은 emptyset (공백의 핵), 즉 ‘결핍의 정위’를 배치하는 것입니다. 제시된 이미지의 정중앙에 위치한 칠흑 같은 원형 공간은 바로 이 근원적 결핍의 블랙홀이자 루이 최 '실재(The Real)'가 갖는 압도적 침묵을 상징합니다. 이 ∅은 채우기 위한 공간이 아니라, 채워질 수 없음의 실증입니다. 중앙의 보이드는 시각적 정보를 최소화함으로써 관람객 스스로 자신의 욕망과 무의식을 투사하게 만드는 강력한 중력을 발휘하며, 주변의 모든 선과 색채는 이 공백을 중심으로 수렴합니다. 특히 중앙 구체 내부의 미세한 점과 외부의 톱니바퀴 같은 형상은 결핍을 메우기 위해 끊임없이 회전하며 대상을 찾아 헤매는 주체의 발버둥을 시각화합니다. 이 중심 ∅은 주변의 모든 데이터를 흡수하고 분류하는 '사일런트 코어'로서, 욕망의 엔진 역할을 수행합니다.

∂ 미분적 시선 레이어: 파편화된 타자의 시선 구현, 중앙 보이드(∅)를 둘러싼 격자형 통로(∂)는 타자의 시선을 분해하고 통제하는 미분적 장치입니다. 욕망 이미지에서 중앙 보이드를 촘촘하게 감싸는 듯한 불규칙한 선들과 기하학적 파편들은 주체가 고정된 하나의 시선을 소유할 수 없음을 의미합니다. 이 partial는 루이 최의 '미분된 시선 체험'을 시각화한 것의 모습을 미세하게 재조정하며, 타자의 시선이라는 필터를 통해서만 주체는 자신의 결핍에 접근할 수 있음을 보여줍니다. 이 미분적 레이어는 이미지의 하단에 위치한 '단일 시선 통제 프로세스 다이어그램'(integration of image)을, 타자의 욕망을 통해서만 주체가 자신의 결핍에 접근할 수 있음을 상징합니다. 이미지에 적용된 '15도 간격의 미분적 시선 창 상세'는 관람객이 이동함에 따라 중앙 공백(empty) 통해 구체화되며, 데이터 분류 및 통제의 조형적 실천으로 이어집니다.

∑ 반복의 증식과 패턴: 욕망의 무한 루프 리듬, 나선형 모듈(∑)은 동일한 기하학적 형태가 미묘하게 변형되며 끝없이 반복되는 구조를 통해 라캉의 '반복 충동'을 시각화합니다. 욕망 이미지에서 중앙 보이드와 격자형 통로 주변을 횡단하는 듯한 곡선들과 반복되는 기호들은 결핍(emptyset)을 메우기 위해 끊임없이 대상을 바꾸어가는 인간의 욕망을 상징합니다. 이 ∑은 단순한 합이 아니라 누적된 반복이며, 각 반복 단계에서 발생하는 미세한 차이(∂)는 욕망을 무한한 전이의 루프 속으로 몰아넣습니다. 이미지 하단의 '나선형 하중 분산고 상세'(integration of image)는 이 반복 증식이 어떻게 지하의 기능적 패턴으로 치환되어 구조적 안정성을 확보하는지를 설명하는 조형적 실천입니다.

(1 - ∂) 점근적 긴장감 역설: 도달 불가능한 소멸, (1 - partial) 점근적 긴장감의 역설은 수식에서 분모가 0에 수렴할수록 전체 욕망의 값이 무한대로 발산한다는 심리적 물리법칙을 시각화합니다. 욕망 이미지에서 중앙 보이드에 가까워질수록 구조가 극단적으로 좁아지거나 날카로워지게 설계된 점근적 소실점은, 도달 직전의 공간적 긴장감을 극대화합니다. 이 (1 - partial)의 조형 전략은 충족에 가까워질수록 소멸에 대한 공포와 욕망의 크기가 비례한다는 역설을 관람객이 신체적으로 느끼게 합니다. 이미지 하단의 '데이터 소멸 게이트 상세'(integration of image)는 이 점근적 수렴이 어떻게 이중 게이트를 통해 데이터 스트림을 완전히 차단하는지를 구체적으로 보여주는 조형적 실천입니다.

욕망의 점근선으로서의 조형은 루이 최의 욕망 구조 공식을 기반으로 한 욕망 이미지의 조형적 실천은 완성된 미(Perfect Beauty)를 지향하는 것이 아니라, 구조적 결함과 결핍을 통해 관람객을 끊임없이 사유하게 만드는 ‘열린 구조’를 지향합니다. 이는 욕망의 비극적 소멸을 시각화함으로써 오히려 '결핍이야말로 우리를 살아있게 만드는 가장 아름다운 인간성의 증거'임을 공간으로 웅변합니다. 개념추상 미술평론가 최철주는 루이 최의 이 조형 공간이 완벽한 충족이라는 데이터 중심의 유토피아 속에서 잊혀간 '실재의 침묵'을 회복하고 주체가 자신의 결핍과 마주하여 존재론적 해방을 얻는 '신성한 자'가 될 것임을 확신합니다./ 글. 추상 미술평론가 최철주 (철학 욕망 공학자 & 문화디자인박사) 

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-48-욕망의 공식 붕괴되어 새로운 시각 언어로 재구성 

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

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

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

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-49

Abstract Art Aesthetics Critique by Choi Chul-joo:

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

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-50-욕망 방정식 붕괴 시각 언어 디자인 

[욕망 방정식 붕괴 시각 언어 디자인]

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

- 1단계 : STRUCTURED DESIRE — 계산되는 욕망

[시각 언어]

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

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

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

[철학적/미학적 해석]

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

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

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

[Designing the visual language]

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

- STEP 1: STRUCTURED DESIRE — A calculated desire

[Visual language]

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

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

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

[Philosophical/aesthetic interpretation]

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-51-폭발하는 욕망 

- 2단계: REBIRTH OF DESIRE — 폭발하는 욕망

[시각 언어]

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

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

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

[철학적/미학적 해석]

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

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

[사운드 디자인]

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

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

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

- Step 2: REBIRTH OF DESIRE — Exploding Desire

[Visual language]

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

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

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

[Philosophical/aesthetic interpretation]

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

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

[Sound design]

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-52-억압된 기표의 배경음 설정 (The Origin: I) 

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

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

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

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

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

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

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

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

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

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

동일한 규격의 작은 방들이 나선형으로 무한히 이어지는 듯한 전시 구역입니다.

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

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

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

박물관의 출구 혹은 옥상 전망대로 향하는 마지막 경사로입니다.

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-53

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

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

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

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

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

2. Flow of movement: Partial - Differential Gaze Gallery

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

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

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

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

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

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

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-54

- Choi Chul-joo's Concept of Desire Formula

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.

 Écrivain de design moderne, Louis Choi Chul-joo's « volubilis (morning glory)» : Un tableau abstrait avec des objets de désir et des nuances réversibles de lumière Exposition « Backside of the morning glory » de Choi Chul-joo, 2021.12.22 Galerie Gwangan, Busan.

Chul-joo_Choi, volubilis 2021-h-arrière, 131X167 cm, acrylique et matériaux composites sur tissu, 2021 (la collection privée du New Yorker)

Les objets picturaux invisibles dans le système visuel sont l'objet de Lacan et des objets surréalistes.

Ici, Louis Choi Chul-joo, artiste d'abstraction conceptuelle, transfère l'objet de Lacan au désir. C'est ce qui ressort de l'abstraction de Choi Chul-joo du concept de désir, révélant l'objet du désir comme sujet.

Il s'agit d'une image déformée dans laquelle les désirs des autres apparaissent momentanément comme un objet this de lacan surréaliste.

Il s'agit d'un double objet de peinture surréaliste qui a une signification symbolique, contrairement à la signification des formes réelles symboliques et perspectives, comme une forme dérivée de la subconscience humaine.

Le langage sémantique de l'image surréaliste du désir est basé sur l'existence d'un réel qui identifie l'inconscience de Freud comme une catégorie symbolique du monde. Par conséquent, le vrai surréaliste du désir est une structure inconsciente. En comprenant la réalité du tableau, <volubilis 2021-h-arrière> peut être interprété comme un autre véritable inconscient dans l'art visuel symbolise le désir des autres.

En d'autres termes, le vrai sens de la forme inconsciente du désir est l'effet de l'apparition d'images incomplètes et déformées formées par la répétition du langage sémantique de l'image. C'est une formule qui peut être échangée contre un sens par le mouvement conscient de l'image de la notation et qui est déterminée par le remplacement d'une forme pour révéler le sens du dessin des désirs de Choi Chuljoo.

It's about building an image with an unconscious structure in a scenario like a scene in a play and revealing and interpreting the meaning of the scenario by the motion of thought of the image that illuminates the reversible light of the past.

Il s'agit de construire une image avec une structure inconsciente dans un scénario comme une scène d'une pièce et de révéler et d'interpréter le sens du scénario par le mouvement de pensée de l'image qui illumine la lumière réversible du passé.

Dans la théorie des arts visuels de Choi Chuljoo, l'échange d'images s'exprime comme le désir de l'autre au lieu d'une action sémantique en répétant la structure des signes et en montrant un sens qui n'est pas une résistance à une image insuffisante. Dans la théorie des arts visuels du désir, l'échange d'images s'exprime comme le désir de l'autre au lieu d'une action sémantique en répétant la structure du signe et en montrant un sens qui n'est pas une résistance à des images insuffisantes. Dans le graphique du désir, il accepte le langage symbolique de Saussure, mais révèle un sens, qui est l'effet causé par l'inconscience qui privilégie le sens, c'est-à-dire l'image du score.

La signification de la forme, qui est couverte par le mouvement instantané réel modifié de la forme, conduit à l'abstraction linguistique. En d'autres termes, la forme réaliste du désir de l'autre dans un événement momentané est une abstraction linguistique du même sens. L'art conceptuel avec le volubilis et le bambou comme fond culturel est l'abstraction linguistique. L'abrégé crée une structure conceptuelle basée sur la forme de la réalité subséquente favorisée par le langage et cache le désir des autres dans un événement momentané.

La signification de la forme, qui est couverte par le mouvement instantané réel modifié de la forme, conduit à l'abstraction linguistique. En d'autres termes, la forme réaliste du désir de l'autre dans un événement momentané est une abstraction linguistique du même sens. L'art conceptuel avec le volubilis et le bambou comme fond culturel est l'abstraction linguistique. L'abrégé crée une structure conceptuelle basée sur la forme de la réalité subséquente favorisée par le langage et cache le désir des autres dans un événement momentané.

En appliquant à plusieurs reprises le concept du monde imaginaire et du désir et la formule du désir de Choi Chul-joo <D(I...I')d=I(D...D'i)i> à l'image de l'œuvre, elle acquiert une valeur esthétique et en révèle le sens en réalisant la formabilité à l'ombre d'une lumière réversible.

La formule imaginaire du désir, qui fonctionne visuellement dans l'image, décrit des formes telles que l'inconscience et le langage afin que les autres puissent vivre leurs désirs de façon cohérente et significative. Par conséquent, la tentative de continuer dans la peinture du désir semble être un sens qui symbolise le désir d'autrui caché par des images, comme le langage inconscient, dans l'espace existant où certains effets du comportement sémantique se produisent.

Chul-joo_Choi, volubilis 2021-h-arrière, 131X167 cm, acrylique et matériaux composites sur tissu, 2021 (la collection privée du New Yorker)

Les objets picturaux invisibles dans le système visuel sont l'objet de Lacan et des objets surréalistes.

Ici, Louis Choi Chul-joo, artiste d'abstraction conceptuelle, transfère l'objet de Lacan au désir. C'est ce qui ressort de l'abstraction de Choi Chul-joo du concept de désir, révélant l'objet du désir comme sujet.

Il s'agit d'une image déformée dans laquelle les désirs des autres apparaissent momentanément comme un objet this de lacan surréaliste.

Il s'agit d'un double objet de peinture surréaliste qui a une signification symbolique, contrairement à la signification des formes réelles symboliques et perspectives, comme une forme dérivée de la subconscience humaine.

Le langage sémantique de l'image surréaliste du désir est basé sur l'existence d'un réel qui identifie l'inconscience de Freud comme une catégorie symbolique du monde. Par conséquent, le vrai surréaliste du désir est une structure inconsciente. En comprenant la réalité du tableau, <volubilis 2021-h-arrière> peut être interprété comme un autre véritable inconscient dans l'art visuel symbolise le désir des autres.

En d'autres termes, le vrai sens de la forme inconsciente du désir est l'effet de l'apparition d'images incomplètes et déformées formées par la répétition du langage sémantique de l'image. C'est une formule qui peut être échangée contre un sens par le mouvement conscient de l'image de la notation et qui est déterminée par le remplacement d'une forme pour révéler le sens du dessin des désirs de Choi Chuljoo.

It's about building an image with an unconscious structure in a scenario like a scene in a play and revealing and interpreting the meaning of the scenario by the motion of thought of the image that illuminates the reversible light of the past.

Il s'agit de construire une image avec une structure inconsciente dans un scénario comme une scène d'une pièce et de révéler et d'interpréter le sens du scénario par le mouvement de pensée de l'image qui illumine la lumière réversible du passé.

Dans la théorie des arts visuels de Choi Chuljoo, l'échange d'images s'exprime comme le désir de l'autre au lieu d'une action sémantique en répétant la structure des signes et en montrant un sens qui n'est pas une résistance à une image insuffisante. Dans la théorie des arts visuels du désir, l'échange d'images s'exprime comme le désir de l'autre au lieu d'une action sémantique en répétant la structure du signe et en montrant un sens qui n'est pas une résistance à des images insuffisantes. Dans le graphique du désir, il accepte le langage symbolique de Saussure, mais révèle un sens, qui est l'effet causé par l'inconscience qui privilégie le sens, c'est-à-dire l'image du score.

Chul-joo Choi, volubilis 2021-e-arrière, 114X169cm, acrylique et matériaux composites sur tissu, 2021

L'image déformée vue du côté comme l'objet ɑ the de Lacan concorde avec la visualisation d'une image photographique du désir de l'autre personne dans le passé comme un collage.

Il s'agit d'une image déformée générée par la lumière réversible qui va au-delà de l'image visuelle réelle du tableau.

C'est parce qu'il s'agit d'une image créée par le désir des autres dans le système théorique du Lacan, qui n'est pas pertinente, qu'elle soit plate ou tridimensionnelle. En tant qu'objet dans <volubilis 2021-e-arrière>, la fleur de trompette au bas du centre parmi les trois fleur de trompette n'est pas clairement alignée et vue par l'objet 'ɑ' ressemble à un regard

Ici, le fleur de trompette désigne l'existence qui s'arrête par le regard d'un instant dans la continuité du temps réversible.

L'image dans <volubilis 2021-e-arrière> montre l'existence d'une temporalité réversible en planifiant la fleur de trompette en fonction de la temporalité réversible des marges et des objets du système visuel en perspective.

Cependant, même si l'existence de la fleur de trompette est reproduite, la fleur de trompette est identifiée comme l'image de fond, mais elle ne correspond pas à l'objet 'ɑ'

Il s'agit d'une structure signifiante d'ombres créées par la lumière réversible avec des images différentes de la fleur de trompette sur ce qu'est l'existence. C'est un objet qui a une autre temporalité réversible d'une ombre qui n'est pas réelle.

Par conséquent, l'objet n'est pas une image en tant qu'objet, mais une réalité en tant que désir d'autrui.

La fleur de trompette au fond du centre relie la lumière réversible pour déterminer le lieu d'existence et former un processus temporel pour indiquer la direction de l'existence et l'espace dans lequel elle se trouve.

Une fleur de trompette matinale formée à une seule source lumineuse dans le temps n'a pas le sens du volume. Ici, la fleur de trompette est une image partiellement fragmentée, comme un collage. Ainsi, chaque image partielle existe dans l'espace sous forme fragmentée exposée en même temps.

La fleur de trompette plane est la forme d'un sujet généré par le regard de l'observateur. À travers la fleur de trompette qui a éliminé le volume, la présence reliée à la lumière réversible est extraite, et les diverses lumières réversibles en arrière-plan et l'ombre de la fleur de trompette sont contrastées pour montrer une vue plane transformée en image déformée.

Le regard du Lacan ne peut être choisi comme une image visible dans laquelle le réel et le non réel reproduisent un objet selon le point de vue, et l'image picturale exprimant l'image réelle est identifiée comme une image non réelle.

Par conséquent, l'existence d'un objet est une image déformée semblable à celle de l'objet 'ɑ' de Lacan therefore.

Chul-joo Choi, volubilis 2021-g-1-arrière, 135X167 cm, acrylique et matériaux composites sur tissu, 2021

De la Renaissance au milieu du XIXe siècle, l'expression‎ des peintures des peintres, ou des images picturales, est plongée dans un maniérisme qui adhère au style populaire. 

À cette époque, la plupart des peintres avaient besoin de vie, à l'exception des peintres qui peignaient des portraits de la famille royale, des aristocrates et des classes supérieures.

La peinture qu'ils ont réalisée comme moyen de subsistance est ce que Lacan appelle une image réfléchie dans le miroir, c'est-à-dire un système imaginaire comme métaphore, un objet satisfait de l'image de l'objet réel comme enfant en regardant l'objet réfléchit dans le miroir. 

Dans <volubilis  2021-g-1-arrière>, la limite de l'étendue visuelle de la toile est enlevée et la tridimensionalité du maniérisme invisible sur l'image est supprimée pour la schématiser comme un objet sémantique. Il s'agit d'un objet vu sous l'angle de la dualité sémantique, loin du style traditionnel d'expression‎ de la peinture, du Moyen Âge aux temps modernes.

Il montre qu'il s'agit d'une toile plate et désigne la réalité de la famille comme une autre signification de l'image de composition formée par les poulets et les oisillons, et non pas l'image réelle de la perspective

Il s'agit d'une peinture lacan qui montre l'ombre de l'objet a avec une lumière réversible qui rejette le centre d'image du simulacre, qui remplace le réel, en omettant le volume de poulet et en rejetant la description de la perspective.

Le passage d'une telle représentation sémantique à une notation déplace la dimension plane de la figure vers l'essence du sens. Il s'agit d'un double objet qui montre simultanément le bétail dans la vie quotidienne et une famille dans un sens symbolique à travers les poulets et les poussins.

La forme de l'image révèle la signification esthétique d'un objet dans le système visuel dans la peinture d'images.

Il s'agit d'un acte pictural, et l'objet est défini dans une zone limitée en perspective, déformant l'espace original et le dessinant sur la toile pour donner un sens.

De plus, une autre signification due à la forme de la zone semblable à l'objet forme une signification soustraite de l'image sous une forme sémantique de la double expression‎ de la forme. 

Le double sens formé ici rompt la relation avec l'être apparent dans le système visuel et existe comme signification dans un espace culturel immatériel.

L'expression‎ verbale de l'objet sur l'image est également métaphorique, mais en supposant qu'il s'agit d'une image qui n'est pas reproduite, le réel existe sous forme d'image virtuelle qui reproduit le réel par la pensée.

Ici, la « volubilis  2021-g-1-arrière » est une rencontre irréaliste qui distingue l'image symbolique et le sens réel de la fleur de trompette, contrairement à la réalité selon laquelle les poulets et les poussins sont la vie et la famille.

Dans l'espace photographique, le réel de Lacan est différent des pensées objectives et représentatives. Il a un objet réel, il est séparé du réel transféré du monde symbolique.

En réalité, le mot « volubilis  2021-g-1-arrière » montre à la fois l'espace de la vie et les poulets et les poussins avec fleur de trompette dans le paysage pour révéler l'existence de la famille. « volubilis  2021-g-1-arrière » est une réalité qui montre la valeur révélée par l'apparence de la famille,

Dans l'espace sémantique de l'image, le volume de poulet est omis dans sa forme réelle et le sens de la famille est exprimé dans un système non visuel.

Dans le domaine public, le réel est une signification cachée au-delà de l'image affichée.

En réalité, le mot « volubilis  2021-g-1-arrière » montre à la fois l'espace de la vie et les poulets et les poussins avec gloire matinale dans le paysage pour révéler l'existence de la famille. «volubilis  2021-g-1-arrière» est une réalité qui montre la valeur révélée par l'apparence de la famille, en éliminant le réel irréaliste qui semble être juste devant vous et en dépeignant la réalité du sens par la pensée.

Lacan calls the existence of things a transcendental symbol.  

La peinture dans le monde symbolique n'est qu'une existence symbolique permanente d'objets, Lacan appelle l'existence des choses un symbole transcendantal.

<volubilis  2021-g-1-arrière> exprime métaphoriquement la signification de la famille comme une région réelle, séparée du royaume du monde symbolique. Sans montrer l'objet à exprimer, comparez la signification réelle de la famille aux poulets et aux poussins. En d'autres termes, la dissimulation invisible crée une image qui compare symboliquement sa signification à son image symbolique.

Cependant, l'expression‎ inconsciente de Freud peut être comparée au désir des autres symboliques du système théorique de Lacan par l'interprétation psychanalytique. Ici, le désir de l'autre symbolique est identifié dans la catégorie du monde symbolique dans l'inconscience de Freud et le sens linguistique de l'image de signature de Lacan.

Par conséquent, la signification de l'image réelle cachée de Lacan est une structure inconsciente. En comprenant le réel de la famille, que l'on ne voit pas dans la volubilis  2021-g-1-arrière, on peut trouver le sens de l'image qui symbolise l'existence du désir de l'autre dans la peinture de lacan.

La signification de la forme, qui est couverte par le mouvement instantané réel modifié de la forme, conduit à l'abstraction linguistique. En d'autres termes, la forme réaliste du désir de l'autre dans un événement momentané est une abstraction linguistique du même sens. L'art conceptuel avec le volubilis et le bambou comme fond culturel est l'abstraction linguistique. L'abrégé crée une structure conceptuelle basée sur la forme de la réalité subséquente favorisée par le langage et cache le désir des autres dans un événement momentané.

La signification de la forme, qui est couverte par le mouvement instantané réel modifié de la forme, conduit à l'abstraction linguistique. En d'autres termes, la forme réaliste du désir de l'autre dans un événement momentané est une abstraction linguistique du même sens. L'art conceptuel avec le volubilis et le bambou comme fond culturel est l'abstraction linguistique. L'abrégé crée une structure conceptuelle basée sur la forme de la réalité subséquente favorisée par le langage et cache le désir des autres dans un événement momentané.

En appliquant à plusieurs reprises le concept du monde imaginaire et du désir et la formule du désir de Choi Chul-joo <D(I...I')d=I(D...D'i)i> à l'image de l'œuvre, elle acquiert une valeur esthétique et en révèle le sens en réalisant la formabilité à l'ombre d'une lumière réversible.

La formule imaginaire du désir, qui fonctionne visuellement dans l'image, décrit des formes telles que l'inconscience et le langage afin que les autres puissent vivre leurs désirs de façon cohérente et significative. Par conséquent, la tentative de continuer dans la peinture du désir semble être un sens qui symbolise le désir d'autrui caché par des images, comme le langage inconscient, dans l'espace existant où certains effets du comportement sémantique se produisent.

Écrire. Critique d'art Chul-joo Choi (Dessin conceptuel contemporain Artiste et docteur en 

■ 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.

■ 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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《문법적 의자》-55

■ 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 Pop-Art AAS Realism Product Design drawing《문법적 의자》-56

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

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

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

Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image. 

As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner. 

Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression‎ abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time. 

As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject. 

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

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

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

The movement of dynamic images is linked to the temporality of abstract structures as a sign of necessity self-consciousness, revealing sensory structures before symbols translated into pictorial languages and serving as formative realities beyond the literary nature of early conceptual art. 

In abstracted background structures, perspective objectivity distorts the phenomenal structure by the extent of the sky and the size of the perspective as opposed to dynamic images, where reversible light is limited to objects superimposed with realist images as another gaze structure on the surface. 

In the symbolic abstract world, abstract structure is a sketch that reveals existence in the form of existence and imagination reflected in a desire background by repeating image sketches as linguistic meanings in a conceptual abstraction of flat forms and colors, and passes through an allegory that realizes dynamic images, abstract structures, and background structures of desire. 

3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device. 

The sketch is a perspective visual structure, and the boundary between dynamic images and abstract structures in phenomenal structures is a method of sketching an abstract image as an unconscious being and an image that expresses a geometric tangent to the form of an abstract background. As a result, the sketch is interpreted as a mirror image that reflects the desire of the other, and it is connected to the concept that the viewer is staring at at the same time, creating an optical reality space where the abstract structure's gaze varies depending on the viewer's position. 

The position of the desire background is abstracted as the image of the reversible reaction that constitutes the realist space abstracted by the concept of desire is repeated. In other words, as the order increases with reversible temporality, the shadow image of the object staring at the reversible light is displayed in dynamic images and abstract structures. 

Choi Chul-joo's conceptual abstract realism design, which is visualized as an ambiguous realism image according to temporality, shows a "trace of time" implemented at the intersection of the same time by the static background image as the effect and phenomenon structure of the stationary moment when the dynamic image of the movement meets the background of the stationary moment. 

4. The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i).

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

� Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight: 

D: The archetype of desire, representing the foundational lack or drive.

I...I': A sequence of visual representations through which desire is projected.

d: The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I: The emergent image of desire, a perceptual unit.

D...D': The recursive layers of desire, reflecting its multiplicity and transformation.

i: The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

� Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient 

� reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (D).

This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.

Choi Chul-joo’s desire formula, expressed as  D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—

Choi Chul-joo’s desire formula D(I...I')d=I(D...D')i an be visualized as a dynamic vector field, where each component represents a transformation in the structure of desire:

Left-hand side D(I...I')d: Desire D is activated by a sequence of images I...I', forming a directional vector across perceptual space. The coefficient d scales this vector, representing unconscious forces, cultural pressure, and social visibility. This side models the generation vector, where desire emerges from visual stimuli and is modulated by internal dynamics.

Right-hand side I(D...D')i: Recursive structures of desire D...D'′ are transformed into a singular image I, which is cognitively resolved into a conceptual value i. This side models the resolution vector, where abstract desire is re-rendered into perceptual form and interpreted semantically.

Transformation Arrows: Arrows between both sides represent recursive feedback loops, showing how desire oscillates between abstraction and realization.

The entire graph behaves as a fixed-point system, where desire continuously loops through image, structure, and meaning.

� Cognitive Psychologist’s Perspective: Desire as Symbolic Simulation

This is the moment of symbolic closure, where desire becomes intelligible.

This graph reveals that desire is not a linear impulse but a recursive cognitive algorithm, where the mind loops through symbolic abstraction, perceptual encoding, and conceptual resolution. The object—whether a pop art image, a shaded metaphor, or a reflective pond—functions as a recursive node in this system, simulating the architecture of desire through visual recursion and symbolic feedback.

5. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.  

<D(I...I'd)=I(D...D'i)> Conceptual abstract realism images as reality reach abstraction by abstractly selecting a specific object, where the subject of desire asks what abstract realism wants from him. This dictates the meaning of the symbolic action that characterizes the design of dynamic and abstract structural images, which repeatedly combine pieces of distorted desire background images in the process of abstraction. 

Here, an image is not a visual phenomenon of a dynamic image, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual dynamic images and abstract structures.

Therefore, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting an abstract place that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image. 

It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the conflict between dynamic images and abstract self-formation, existential abstract structures as effects, and linguistic meanings revealed in the gaze, and reinterprets the mirror image of abstract realism to abstract dynamic images and abstract structures beyond phenomenal backgrounds and desire formulas as desire structures.  

This form reveals the sensory structure before the perception of existential fish, i.e., the previous stage image of linguistic meaning, and beyond the literary nature of modern conceptual art, it is a realism abstraction as a linguistic meaning where more diverse spatiotemporal and pictorial forms intersect through the viewer's eyes. 

In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.

The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art. 

This is a piece of meaning symbolized in a non-existent space, an abstract abstraction of an abstract structure that mimics the dynamic image and the structure of desire. 

Abstraction functions as a pictorial event image, and instead of desire, it explores the boundary between existence and absence by combining fragmentary sculptural images with shades of color produced by reversible light. 

In this abstract design method applied to conceptual abstract realism painting, the shape of a dynamic image that acts as a sign of desire before linguistic meaning is transferred to an image as a symbol, and the meaning of it is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of desire that moves while unconsciously synthesizing according to temporality coexists. 

As an image of linguistic meaning, it conceptualizes abstract structure as a living dynamic image and images it as an existential realist image, resulting in a conceptual abstract realism design that phenomenally expresses abstractness and self-consciousness as abstract spaces according to temporality through the traces of time.  

6. The Design Results of Choi Chul-joo's Desire Abstract Concept, Choi Chul-joo’s abstract concept of desire through the psychoanalytic frameworks of Jacques Lacan and Sigmund Freud. Choi’s design reveals how desire is not a solitary impulse but a relational and recursive structure, shaped by identification, symbolic generalization, and unconscious antagonism. Through the lens of Lacanian subjectivity and Freudian transference, we examine how the sympathizer becomes a secondary subject of desire, how desire is refracted through reversible light, and how conflict emerges when symbolic generalization fails.

Introduction: Desire as a Relational Structure: Choi Chul-joo’s abstract concept of desire challenges the notion of desire as a private, internal drive. Instead, it is presented as a relational construct, emerging through the interaction between the subject, the Other, and the sympathizer. This triadic structure reflects Lacan’s theory that desire is always the desire of the Other, and Freud’s view that identification and transference are central to the formation of subjectivity.  Although the object of desire remains passive, the sympathizer—who internalizes and mirrors the Other’s desire—transforms into an active subject capable of executing the same desire. This process of identification aligns with Freud’s theory of ego formation through the internalization of external drives, and with Lacan’s notion that the subject is constituted through the gaze and desire of the Other. The sympathizer does not merely reflect but enacts, becoming a second-order subject of desire. The sympathizer attempts to generalize the Other’s desire, positioning it as a universal or victorious act—akin to a conqueror who reclaims desire as a public object. This symbolic generalization reflects Lacan’s concept of the Imaginary, where the subject misrecognizes itself in the mirror of the Other’s desire, and Freud’s idea of sublimation, where unconscious drives are elevated into socially acceptable forms. However, this generalization is fragile and contingent. When desire, refracted through reversible light and symbolic shadow, fails to become a publicly shared act, the structure collapses. The subject of inappropriate or misaligned desire and the sympathizer—once aligned—now antagonize the original subject who enacted desire according to the generalized will of the Other. This breakdown mirrors Freud’s theory of repression and resistance, and Lacan’s Real, which resists symbolization and disrupts the symbolic order.

Choi Chul-joo’s design results reveal that desire is not a fixed entity but a recursive psycho-social system, shaped by identification, symbolic mediation, and unconscious conflict. Through Lacanian and Freudian lenses, we see that the sympathizer’s transformation into a subject, the attempt to generalize desire, and the eventual collapse into antagonism reflect the complex architecture of human desire—an architecture that Choi renders visible through abstract conceptual design.

7. Applying Choi Chul-joo’s conceptual abstract realism design methodology to the visualization of desire in Louis Choi Chul-joo’s Morning Glory, at the initial stage of existential conceptual abstraction, the realistic elements of the morning glory are abstracted into a conceptual object that embodies desire, where this abstraction functions not merely as a visual reproduction but as a cognitive apparatus translating the inherent lack of desire into a perceivable visual structure, allowing the viewer to recognize the recursive interplay between the object of desire and the symbolic structures that govern it; in the subsequent stage of sketching and structural composition, the dynamic images of the morning glory are linked to the abstract background through reversible light and segmented temporality, generating a visual grammar in which the phenomenological movement of the image interacts with the static abstraction of the background, thereby extending linguistic meaning into visual form and revealing the unconscious mechanisms through which desire is produced, mediated, and repeated; following this, at the stage of desire formalization, the formula D(I…I’)d = I(D…D’)i is applied so that the morning glory simultaneously functions as object, image, and conceptual abstraction, where the sequential arrangement of repeated visual instances reflects the recursive structure of desire and the dynamic coefficient (d) modulates perceptual and symbolic forces, transforming desire into a visualized abstraction that positions the floating flower in the sky as a nodal point for cognitive recognition and psychoanalytic reflection; in the conceptual interpretation stage, these recursive visual patterns consolidate into a singular conceptual desire image (i), establishing dynamic interactions between image, structure, and meaning, while the linguistic-semantic integration stage ensures that the abstract realism image conveys philosophical, psychoanalytic, and aesthetic significance simultaneously, realizing both the existential reality of the object and the symbolic mediation of desire, with the viewer’s gaze incorporated through reflection, inversion, and recursive feedback loops; finally, at the stage of full realization of conceptual abstract realism, all phases converge to unify dynamic images, abstract structures, and desire-laden backgrounds into a coherent visual grammar, producing an image that embodies perceptual, symbolic, and conceptual properties simultaneously, thereby demonstrating the methodological rigor of Choi Chul-joo and transforming the desire depicted in Morning Glory into a visual language extended across image, abstraction, and spatiotemporal structure, achieving a recursive, relational, and cognitive resonance that manifests the philosophical and aesthetic dimensions of contemporary conceptual abstract realism.

Louis Choi Chul-joo’s AAS abstract realism a design drawing (제품 디자인의 실재) operates not as a representational depiction of reality but as a cognitive visual apparatus that transforms the visualization of absence into a site for the philosophical contemplation of desire, wherein abstraction functions not as a formal negation but as an epistemological structure that converts the disjunction between language and image into the generative principle of desire; in this work, where language fails to stabilize meaning, the image intervenes as the substitute for that linguistic insufficiency, visually articulating the movement of desire through its compositional grammar—through chromatic contrast, reflective inversions, and spatial ruptures—thus extending the semantic field of language into a visual syntax that materializes cognition; the inverted human figure mirrored beneath the pond, the symbolic red stems, and the deep blue spatial abyss together construct a field in which the absence of the Real does not signify emptiness but instead becomes the very motor of desire, producing what may be called a substitutive realism, a mode in which abstraction replaces the absent Real and, paradoxically, reveals its cognitive structure more profoundly than direct representation could; within this process, language’s failure to fix meaning is transfigured into an event of vision, wherein the spectator, recognizing simultaneously the negation of the linguistic and the reflection of the visual, experiences perception not as mere sensory reception but as a philosophical event operating within the cognitive structure of lack; thus, Morning Glory realizes Choi’s concept of reversible illumination, in which language and image illuminate one another reciprocally, generating meaning through their mutual reflections, while this continual slippage and rotation of meaning around the axis of absence constitutes a visual grammar of desire that transforms the absence of the Real into a cognitive syntax of symbolic production; consequently, abstraction here extends beyond the denial of representation to become a philosophical device for the contemplation of lack, providing empirical validation for Choi’s Art Theory of the Structure of Desire and demonstrating that art does not mirror the Real but instead reflects the structure of its absence, reconstructing perceptual reality through the visual logic of desire; ultimately, Morning Glory stands as an exemplary philosophical construct in which linguistic meaning expands into visual form, showing that abstraction can serve as a medium of cognitive realism wherein the image substitutes for the Real and allows the subject to think, rather than merely to see, through the aesthetic experience of desire and lack.

8. “The Visual Grammar of Desire and the Image-Expansion of Linguistic Meaning in Louis Choi Chuljoo’s Morning Glory”: Louis Choi Chuljoo’s Morning Glory (2025-1: Pond Rendering Reflects Current Desire) operates not as a representational depiction of reality but as a cognitive visual apparatus that transforms the visualization of absence into a site for the philosophical contemplation of desire, wherein abstraction functions not as a formal negation but as an epistemological structure that converts the disjunction between language and image into the generative principle of desire; in this work, where language fails to stabilize meaning, the image intervenes as the substitute for that linguistic insufficiency, visually articulating the movement of desire through its compositional grammar—through chromatic contrast, reflective inversions, and spatial ruptures—thus extending the semantic field of language into a visual syntax that materializes cognition; the inverted human figure mirrored beneath the pond, the symbolic red stems, and the deep blue spatial abyss together construct a field in which the absence of the Real does not signify emptiness but instead becomes the very motor of desire, producing what may be called a substitutive realism, a mode in which abstraction replaces the absent Real and, paradoxically, reveals its cognitive structure more profoundly than direct representation could; within this process, language’s failure to fix meaning is transfigured into an event of vision, wherein the spectator, recognizing simultaneously the negation of the linguistic and the reflection of the visual, experiences perception not as mere sensory reception but as a philosophical event operating within the cognitive structure of lack; thus, Morning Glory realizes Choi’s concept of reversible illumination, in which language and image illuminate one another reciprocally, generating meaning through their mutual reflections, while this continual slippage and rotation of meaning around the axis of absence constitutes a visual grammar of desire that transforms the absence of the Real into a cognitive syntax of symbolic production; consequently, abstraction here extends beyond the denial of representation to become a philosophical device for the contemplation of lack, providing empirical validation for Choi’s Art Theory of the Structure of Desire and demonstrating that art does not mirror the Real but instead reflects the structure of its absence, reconstructing perceptual reality through the visual logic of desire; ultimately, Morning Glory stands as an exemplary philosophical construct in which linguistic meaning expands into visual form, showing that abstraction can serve as a medium of cognitive realism wherein the image substitutes for the Real and allows the subject to think, rather than merely to see, through the aesthetic experience of desire and lack.

■ Conceptual Abstract Realism Abstraction Rendering is a philosophical design process that automatically visualizes the concept of desire through the "art algorithm" of conceptual abstract realist Louis Choi Chul-joo, and it renders conceptual abstraction sketches manually as a pre-stage of systematization that combines with AI to create conceptual abstract art. This is not a simple image generation of an art algorithm, but a method of automatically converting philosophical concepts into visual images by interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible shades of light into mathematical and symbolic structures to suggest the possibility of fusion with AI. In addition, AI-based conceptual art creation system Louis Choi Chul-joo's philosophical art theory can be algorithmized to build a system that autonomously generates conceptual art. It expands to digital installation art where images change in real time due to the movement of viewers of interactive media installation work, and develops into a spatio-temporal art algorithm so that you can experience the structure of desire to realize VR/AR-based desire space in a virtual space. Therefore, Choi Chul-joo's conceptual abstraction rendering is an art creation engine that combines concept, language, design, psychology, philosophy, and technology as a tool for visualizing his art algorithm, and expands Choi's conceptual abstract realism art into the core structure of digital art.

■ Conceptual Abstract Realist The process of rendering a Realist abstraction in art is as follows

1.Conceptual Abstractionist Abstraction Sketch reproduces a conceptual abstraction image to form an abstract image as a conceptual object in the form of ideological non-formality, which hides its existence and sketches realistic images on a plane as realistic structures. This is the introduction stage of a philosophical design process that automatically visualizes the concept of desire through Choi Chul-joo's 'art algorithm', which combines manual work and AI to create sketches of conceptual abstraction. In other words, in parallel with the scotch of contemporary art, a sketch of conceptual abstraction realism as a pre-stage of AI systemization is done manually. Here, abstraction as a symbolic structure is an image with the existential concept of a realist object with creativity and autonomy in a linguistic sense that reproduces in similar colors and sizes even though the sketch is different from the actual structure. Therefore, the abstract realist abstract sketch of an existential concept with creativity and autonomy in a linguistic sense consists of a sketch of another being as a linguistic meaning of a conceptual abstract realist object through the unconsciousness suppressed by the desire of the other. 

2. Conceptual Abstractism Abstract rendering (R) is a phenomenal opportunity to verbally interpret the conditions (i/d) under which images of conceptual abstract realism objects are realized by conceptualizing abstract objects specified in Choi's Desire Formula and grammatically interpreting linguistic meanings beyond the other's desires. This is an abstract design process that automatically converts philosophical abstraction into visual images by grammatically interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades into mathematical and symbolic structures to present the possibility of convergence of realist abstract rendering and AI rendering as object rendering at the same time. 

When the conceptual abstraction as the subject of desire is transferred to a realism image, the subject of desire asks itself what the abstract structure wants and renders (r) a specific object to the actual image of the abstract concept, so that the conceptual abstract realism image as a reality reaches abstract rendering <DR(I...I')d=I(DR...D'i)ir>. It renders as an image the meaning of symbolic action that characterizes the design rendering of the object seat as a realism image, which combines pieces of distorted morning glory image repeatedly during the abstraction process. Here, image rendering is not a visual phenomenon of an object, but a method of visualizing the flow of unconsciousness and the realism image of symbols. 

3 Realism Abstraction Composition is a form of abstraction of real objects, a structure of the other that represents a synchronic semantic chain, and a vector representing the orientation of the non-realistic existential subject entering the symbolic world, and abstracts the image by defining the concept of an existential image that is alienated from the desire image that lacks a realistic structure. This abstract image creates a realism image of an art algorithm with a desire structure 

In order to present the possibility of convergence with AI, Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades are automatically converted into realistic images. 

The realist abstraction of conceptual abstraction as an existential subject is revealed through division, which expresses the essence of ex post fact in a comprehensive and immediate way of solving an image with a different linguistic meaning as a semantic structure that cannot be expressed as a real object.  

Thus, realism abstraction of desire structures subconsciously selects unpredictable effect image rules as ordered vectors that indicate directions toward solving non-imaginary semantic structures in a comprehensive and immediate way as a whole step in linguistic meaning, such as representation abstraction. 

This is a semantic structure that cannot be solved as a being until the abstract structure enters the symbolic world, abstracting desire knots into a synchronous meaning and physically dividing the same essence as the ex post essence that constitutes the abstraction of conceptual realism as an existential subject.  

4. Conceptual Abstract Realism Abstraction Design designs objects as a reversible light structure that deviates from the concept of instantaneous desire from abstract images that connect realism images into allegories in linguistic terms as sketches of linguistic meaning structures to desire structures as objects formed from each other's abstract perspectives as reality and virtual beings. 

Pre-stage abstraction of linguistic meaning is developed as a pictorial linguistic structure in which the object moves in the position of the object abstracted by reversible temporality and in the position of the morning glory illuminated by the divided retroactive light.

The movement of the object is linked to temporality as a sign of necessity self-consciousness, reveals the sensory structure before the symbol translated into pictorial language, and becomes an abstract space that functions as a formative reality beyond the literary nature of early conceptual art. 

AI rendering of realism abstraction is an abstraction that implements an AI system that autonomously generates realism abstraction by algorithmizing the desire formula that applies Louis Choi Chul-joo's desire concept as an "art algorithm" through an AI-based conceptual art generation system. 

Reversible light is a limited shade form, and it is expanded to digital installation art in which images change in real time through the movement of viewers through interactive media installation work tailored to the perspective objectivity of the real structure. This place is directed according to a spatio-temporal art algorithm so that you can experience the structure of desire to realize VR/AR-based desire space in a virtual space. 

On the other hand, perspective objectivity in the spatial structure of abstraction in conceptual abstract reality renders the abstraction of the real image of the object contrasted with the object as the range of space and the size of the perspective, where the realist image is superimposed on the surface as another gaze structure.

5. Conceptual Abstract Realism The design rendering is an aesthetic desire structure in which an abstract realist object, which is an image-structured in a linguistic sense, is revealed as a point of light to the eyes of others, and is revealed in the gaze system of desire. 

Aesthetic abstraction is designed as a philosophical device, and the abstract structure and the real image are rendered as an image of an existential realism object that appears in the same meaning. This is an image rendering method that represents abstract design as a tangent line of a flat cross-section and unconscious existence as a non-perspective visual structure. 

Therefore, Choi Chul-joo's rendering of conceptual abstract realism is a tool that visualizes his desire formula as an art algorithm, and concept, language, design, psychology, and philosophical realism abstraction are designed. This place expands Choi's conceptual abstract reality art, which is an art creation engine that combines AI technology, into the core structure of digital art.      

The realism abstraction structure is interpreted as a mirror image reflecting the desire of the other, and it is connected to the concept that the viewer is being stared at at at the same time, and the image of the linguistic meaning of conceptual abstraction realism abstraction is structured by rendering the optical realism space that varies depending on the viewer's position as the gaze of the object. The rendering matches the perspective of realist space with the abstract linguistic meaning of the object, and from the conceptual point of view of desire, an abstract and invisible object appears as a gaze path according to temporality. Abstraction as a realist image is an abstract real image that is transformed into a realist image as an art algorithm as an abstract with a desire structure. This is because, as modern art, realist abstraction returns to abstraction, in which the abstract structure conceptually symbolized as a linguistic semantic structure is structured in reality by the shadow structure of the past that shines a reversible light in the present.

Thus, through the tension and harmony between aesthetic values, human desires, and linguistic semantic structures through artistic abstraction algorithms, the structure of desire and the aesthetic concept of reality are visualized as realism images, but abstract rendering implemented as a double object shows "the aesthetic trace of time." 

■ Choi Chul-joo's conceptual abstract realism science definition is conceptual abstract realism, which identifies existence as a limited form of image as a linguistic semantic image, realizes it as a formula for mathematical desire, constructs real structures in logical places, and intuitively considers abstract concepts as existential images in modern art's conceptual abstract realism science, abstracting linguistic meaning and unconscious desire through a thorough design process, the depth of the concept of contemporary art and visual reality, or how the world is viewed as an aesthetic value, are simultaneously studied.

Accordingly, the conceptual abstractive design process is

1. Concept Abstract Reality Image Sketch sketches an image by abstracting the conceptual abstract realism image as a conceptual object, and the image is a virtual image that hides its existence and sketches it into a real structure. This visualizes Choi Chul-joo's concept of desire as a conceptual abstract real image and sketches it as a philosophical abstract design process. 

Here, the sketch has the existential concept of a realism object as a symbolic structure in a linguistic sense that identifies it with the conceptual abstract real image. Therefore, the image sketch of the existential concept of abstract reality with creativity and autonomy in the linguistic sense consists of a sketch of another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desire of the other. 

2. Conceptual abstract image rendering (R) is an opportunity to verbally interpret the conditions (i/d) under which the image of the conceptual abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desire of the other by conceptualizing the abstract object specified in Choi Chul-joo's desire formula. 

This is an abstract rendering method that automatically converts philosophical abstraction into visual images by grammatically interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades into mathematical and symbolic structures to simultaneously render AI renders that combine conceptual abstract images and conceptual abstract images created in one image. Conceptual abstract realism images reach abstract rendering as a reality <DR(I...I')d=I(DR...D'i)ir> by the subject of desire asking himself what the abstract structure wants when transferring the abstract image rendering to a realistic image. This is a method of rendering the symbolic action that characterizes the design rendering of the object seat as a realistic image by repeatedly combining the pieces of the distorted morning glory image in the process of rendering the conceptual abstract image into a realistic image with the unconscious flow and symbolic realism image. 

3. Concept Abstract The actual image composition is a real object and abstracts the image by defining the concept of an existential image as an abstract concept. Abstract structure is a semantic structure that cannot be expressed as a real object, and an image in linguistic meaning that cannot be solved by existence is defined as a semantic structure that physically separates material and identical personalities to form a conceptual abstract real image as an existential subject.

4. Concept Abstract Image Design combines desire structure with the existence of reality, and the existence of objects formed from an abstract perspective, combining reversible light structure with reversible shading of light that deviates from the concept of instantaneous desire. The AI design of the conceptual abstract real image autonomously implements the conceptual abstract real image design by algorithmizing Choi Chul-joo's conceptual abstract realist theory into AI. Therefore, the abstraction of conceptual abstract realist images according to conceptual abstract realist theory in the spatial structure abstracts perspective objectivity as another gaze structure on the surface, and the object overlapping a realism image is abstracted from the object's real image as the scope of space limited by reversible light and the size of the perspective. 

5. Conceptual abstraction The abstract realist image's abstraction is an aesthetic desire structure in which an abstract realist object, which is an image-structured in a linguistic sense, is revealed as a point of light to the eyes of others, is revealed in the gaze system of desire. By designing an image with an abstract meaning as a philosophical device, aesthetic abstraction is painted with an image of an existential realism object that appears to have the same meaning. Choi Chul-joo's abstraction as a conceptual abstract realist image is a tool that visualizes his desire formula through an art algorithm, and it is a conceptual, language, design, psychology, and philosophical realist abstraction. Therefore, the abstraction of an abstract realist image abstracts the conceptual abstract linguistic meaning of a realist space by equating the perspective of a realist space with the conceptual abstract linguistic meaning of an object.

Choi Chul-joo Pop-Art AAS Realism drawing《Philosophical Desire Engineer》-57