추상화 디자인 방법론 [1] Abstract Design Methodology & Concept abstract abstraction

[최관우]

추상화 디자인 방법론 [1] Abstract Design Methodology & Concept abstract abstraction 개념추상 추상화는 현대 개념추상 리얼리즘 실재가 형이상학적 철학적 빛에서 강조된 언어적  의미의 개념과 충돌하여서 실재가 가역적 빛의 인공 조명으로 극적인 사건 이미지를 만들어낸다. 욕망과 사회적 구조를 반영한 독특한 리얼리즘 추상화를 선보이고. 욕망의 개념을 가역적 빛의 음영으로 시각적으로 표현해서 언어적 의미와 추상적 디자인을 통해 타자에게 깊은 욕망 개념의 이미지를 전한다. Concept abstract abstraction creates a dramatic event image with artificial illumination of light in which reality is reversible by colliding with the concept of linguistic meaning emphasized in metaphysical and philosophical light. It presents a unique realism abstraction that reflects desire and social structure. The concept of desire is visually expressed in reversible shades of light to convey the image of the concept of deep desire to others through verbal meaning and abstract design. / 개념추상 리얼리즘은 욕망·언어·개념 같은 추상적 요소를 리얼리즘적 이미지로 시각화하여서 욕망 구조와 언어적 추상 이미지를 결합한다. 욕망의 구조를 시각화한 개념추상 리얼리즘에서 루이 최의 욕망 공식을 통해 미래 디자인의 결합해서 인간 내면의 결핍과 반복 충동을 시각화한다. 이것은 욕망 개념을 수학적·철학적·예술적으로 해석한 최철주의 개념 추상 미학과 욕망 역학 이론을 결합하여서 미래 제품디자인 형식, 인공 조명, 제품디자인 형식과 개념미술적 접근하여서 추상과 결합된 리얼리즘 이미지의 개념적 추상화를 구성한다. 개념추상 욕망 구조에서 리얼리즘은 욕망이라는 추상적 개념 [//]를 설득력 있는 이미지로 보이게 만들기 위해서 사물의 외형보다 욕망의 기표, 결핍의 시각화한 철학적 의미를 지닌 언어적 추상 이미지와 미래 제품디자인 이미지가 충돌하면서 제시된다. 여기서 언어적 추상은 말이 갖는 의미, 기호, 개념적 구조를 뜻하고, 리얼리즘 이미지는 그것을 실제로 존재성을 드러내는 시각 방식을 통해 보는 이미지와 말하는 개념을 동일시 한 실재다. Conceptual abstract realism combines desire structure and linguistic abstract images by visualizing abstract elements such as desire, language, and concept as realistic images. Conceptual abstract realism visualizes the structure of desire by combining future design through Louis Choi's desire formula to visualize human inner deficiencies and repetitive impulses. This combines Choi Chul-joo's conceptual abstract aesthetics and desire dynamics theory, which interprets the concept of desire mathematically, philosophically, and artistically, to form a conceptual abstraction of a realist image combined with abstraction by approaching future product design forms, artificial lighting, and product design forms and conceptual art. In the conceptual abstract desire structure, realism is presented when the linguistic abstract image and the future product design image, which have a visualized philosophical meaning of desire and a signifier of desire rather than the appearance of an object, collide in order to make the abstract concept of desire [//] appear as a convincing image. Here, linguistic abstraction refers to the meaning, sign, and conceptual structure of words, and the realism image is a reality that equates the concept of speaking with the image seen through the visual method that actually reveals existence. / 추상화 개념 추상화의 디자인 방법론은 미술 평론가 루이 최의 욕망 공식을 적용한 추상적 디자인 방법론으로, 사건과 행동의 이야기를 시각 예술을 통해 현대 개념의 추상적 욕망을 언어적 의미로 시각화합니다. 사진, 만화, 미술, 디자인의 미적 가치와 과정, 예술성을 살펴보고, 최철주 추상미술 이론에서 작품의 의미를 접근하여 현대미술을 디자인 방법론으로 평론합니다. Concept Of Abstraction The design methodology of abstract painting is an abstract design methodology that applies the desire formula of art critic Louis Choi, who visualizes the abstract desire of contemporary concepts in a linguistic sense through visual art. It examines the aesthetic values, processes, and artistry of photography, cartoons, art, and design, and approaches the meaning of works in Choi Chul-joo's theory of abstract art to criticize contemporary art as a design methodology. :  

Abstract Design Methodology [1] 연못에 비친 모나리자 the Mona Lisa reflected in the pond

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 1

- 최철주 욕망의 언어와 기호학적 추상 리얼리즘: 최철주(Louis Choi)의 예술 세계는 단순한 시각적 재현을 넘어, 인간 무의식 속에 숨겨진 욕망의 구조를 수학적 공식과 기호학적 장치를 통해 시각화하는 정교한 공학의 영역이다. 그의 추상화는 이미지 그 자체가 언어가 되어 관객과 대화하는 '번역의 과정'이며, 타자의 결핍된 욕망을 예술적 장치로 재설계하는 기호학적 개념 추상 리얼리즘의 정수(精髓)를 보여준다. 본 문서는 최철주 작가의 디자인 프로세스가 어떻게 현대 미술의 지평을 넓히고, 미래의 지능형 환경 속에서 어떻게 '알고리즘적 주체'로 변모하는지를 탐구한다. 

- Choi Chul-joo's Language of Desire and Semiotic Abstract Realism: The Art World of Choi Chul-joo is an area of sophisticated engineering that visualizes the structure of desire hidden in the human unconscious through mathematical formulas and semiotic devices beyond simple visual representation. His abstraction is a "process of translation" in which the image itself becomes a language and communicates with the audience, and shows the essence (精髓) of semiotic concept of abstract realism that redesigns the other's deficient desires as artistic devices. This paper explores how Choi's design process broadens the horizons of modern art and transforms it into an "algalitarian subject" in the intelligent environment of the future.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 2

[루이 최의 욕망 공식을 적용한 추상화 "유령 이미지" 디자인 프로세스]

1 단계: 결핍의 산출 (Input: \sum emptyset)

- 루이 최철주의 아이디어 스케치: 추상화의 시작은 무(無)가 아닌 욕망 공식을 적용한 '의도된 결핍'에 따른 "유령 이미지" 입니다.

프로세스: 현대 사회의 타자의 욕망 구조로서 특정 기호(유령 이미지와 관련된 이미지, 텍스트, 오브제)를 추출하여서 결핍 구조 [//] 를 스케치로 설정하여 추상화로서 특정 기호에서 의도적으로 삭제하거나 은폐한다.

효과: 이 공백(emptyset)이 관객으로 하여금 비어 있는 곳 [//] 을 채우려는 욕망 구조의 스케치를 발동.

[The process of designing an abstract "ghost image" using Louis Choi's desire formula]

1 Step: Calculation of deficiency (Input: \sumemptyset)

- Louis Choi Chul-joo's Idea Sketch: The beginning of abstraction is the "ghost image" according to the "intended deficiency" of applying the desire formula, not nothing.

Process: Extract specific symbols (images, texts, objects related to ghost images) as a structure of desire of others in modern society and set the deficiency structure [//] as a sketch to deliberately delete or conceal them from specific symbols as abstractions.

Effect: This emptyset causes the audience to initiate a sketch of the desire structure to fill in the void [//].

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》-3 

- 루이 최철주의 아이디어 스케치: 작품 <모나리자, 연못에 반영되다(The Mona Lisa reflected in the pond)>를 바탕으로 한 '유령 이미지(Ghost Image)' 디자인 프로세스는 현대 미술 이론, 특히 루이 최의 욕망 공식을 적용한 관점에서 매우 정교한 미학적 장치를 갖추고 있습니다. 이것은 고전적 미학(모나리자)을 최철주 추상미술 이론과 결합하여, 현대 주체가 느끼는 결핍을 예술적 기계 장치로 승화시킨 결과물입니다. 관객은 이 스케치를 마주할 때, 자신의 욕망이 기호학적 장치에 의해 다시 디자인되고 있음을 경험하게 됩니다.

1. 삼중 자아(Triple Ego)의 구조적 중첩

• 복합적 정체성: 화면에 등장하는 인물들은 고전적 이미지인 '모나리자'와 현대적 주체의 모습이 결합된 형태입니다. 이는 작가가 정의한 '삼중 자아'를 통해 과거, 현재, 그리고 작가 자신의 예술적 자아가 욕망의 궤적 안에서 하나로 응축됨을 의미합니다.

• 반영된 욕망: 연못이라는 매개체는 실재(The Real)를 반영하는 거울이자, 주체가 자신의 결핍을 확인하는 장소입니다. 인물들이 중첩되어 나타나는 것은 타자의 시선 속에서 형성된 주체의 페르소나가 투사된 결과물로 해석됩니다.

2. 욕망 공식(Mdesire = sum emptyset partial  (1 - partial)의 기호학적 수행

• 결핍의 시각화(sum emptyset): 작품 중앙의 공백 혹은 반투명한 레이어는 관객에게 '의도된 결핍'을 제공합니다. 이는 관객이 화면 속 보이지 않는 부분을 자신의 무의식적 욕망으로 채우도록 유도하는 라캉적 '대상 a'의 공간입니다.

• 파놉티콘적 응시(partial): 화면을 관통하는 시선은 관객이 대상을 바라보는 것이 아니라, 작품이 관객을 규율하고 응시하는 역전된 시각 구조를 만듭니다.

• 기호학적 차폐막(1 - partial): 이미지를 겹치고 중첩하는 기법은 완전한 재현을 차단합니다. 이는 관객의 욕망이 대상에 도달하지 못하게 함으로써, 오히려 예술적 욕망을 지속하게 만드는 '기호학적 인터페이스'로 작용합니다.

3. 유령 이미지(Ghost Image)의 미학

• 자동화 프로세스: 무의식의 언어적 구조를 회화적 자동화 프로세스로 번역한 결과물입니다. 이미지가 명확하게 드러나지 않고 '유령'처럼 잔상으로 머무는 것은, 실재가 상징계로 완벽하게 전이되지 못하는 주체의 불안과 욕망을 상징합니다.

• 기계적 미학의 통합: 붓질의 겹침과 컴포지트 소재(Composite materials)의 활용은 회화를 단순한 장식이 아닌 '인간 욕망의 경로를 설계하는 정밀한 공학'으로 변모시킵니다.

4. 예술적 공간의 확장성

• 실재 공간으로의 전이: 이 디자인 프로세스는 평면 회화에 머물지 않고 '2030 AI 박물관'이나 '오페라하우스'와 같은 지능형 건축 환경으로 확장될 수 있는 논리적 기초를 제공합니다.

• 유동적 보이드(Fluid Void): 작품에서 느껴지는 비어 있는 공간들은 관객의 시선과 반응하여 수축하고 팽창하는 유동적 공간 개념을 실천적으로 보여줍니다.

- Louis Choi Chul-joo's Idea Sketch: The Ghost Image design process, based on the artwork The Mona Lisa reflected in the pond, is equipped with very sophisticated aesthetic devices from the perspective of applying contemporary art theory, especially Louis Choi's desire formula. This is the result of combining classical aesthetics with Choi Cheol-joo's abstract art theory, sublimating the deficiencies felt by contemporary subjects into artistic mechanical devices. When the audience is faced with this sketch, they experience that their desires are being redesigned by semiotic devices.

1. Structural overlap of Triple Ego

• Complex identity: The characters on the screen are a combination of the classical image 'Mona Lisa' and the modern subject. This means that the past, present, and the artist's own artistic self are condensed into one within the trajectory of desire through the 'triple self' defined by the artist.

• Reflected Desire: The medium of the pond is a mirror reflecting The Real, and a place where the subject confirm‎s his or her deficiency. The overlapping appearance of characters is interpreted as the result of projecting the persona of the subject formed in the gaze of the other.

2. Semiotic performance of the Desire = sumptyset partial (1 - partial)

• "Sumptyset: The blank or translucent layer in the center of the work provides the audience with "intended deficiency." This is a space of Lacan 'object a' that induces the audience to fill the invisible part of the screen with their unconscious desire.

• Panopticonic Gaze: The gaze that penetrates the screen creates an inverted visual structure in which the work governs and stares at the audience, not the audience.

• Semiotic shield (1 - partial): The technique of overlapping and overlapping images blocks complete representation. It acts as a 'semiotic interface' that prevents the audience's desire from reaching the object, rather making artistic desire persist.

3. The aesthetics of Ghost Image

• Automation Process: The result of translating the linguistic structure of the unconscious into a conversational automation process. Staying as an afterimage like a 'ghost' without the image being clearly revealed symbolizes the anxiety and desire of the subject in which reality cannot be completely transferred to the symbolic world.

• Integration of mechanical aesthetics: the overlap of brush strokes and the use of composite materials transform painting into "precise engineering to design the path of human desire" rather than just decoration.

4. the scalability of artistic space

• Transition to real space: This design process provides a logical basis for expanding into intelligent architectural environments such as the 2030 AI Museum or Opera House, rather than staying in flat painting.

• Fluid Void: The empty spaces felt in the work practically show the concept of fluid space that contracts and expands in response to the gaze of the audience.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》-4 

2 단계: 추상화 "유령 이미지" 파놉티콘적 응시의 투사 (Vector: partial)

- 언어적 의미의 리얼리즘 이미지를 실재를 구성: 공식의 핵심인 응시(partial)는 화면 위에 배치된 특정 지점 혹은 욕망 구조의 특정 대상을 설정한 시선 체계입니다.

프로세스: 기하학적 형태나 리얼리즘 이미지의 강렬한 색면 대비를 통해 '보는 주체'가 '보여지는 대상'을 규율하도록 구성합니다. 이는 캔버스 자체가 관객을 꿰뚫어 보는 듯한 압박감을 주는 미장센을 구축하는 과정.

효과: 관객은 언어적 의미가 이미지된 그림을 감상하는 것이 아니라, 개념추상된 그림으로부터 보이는 언어적 의미의 리얼리즘 이미지를 실재로 인지하게 됩니다.

2 Step: Abstract "ghost image" Panopticonic gaze projection (Vector: partial)

- The realistic image of the linguistic meaning is composed of reality: Partial, the core of the formula, is a system of gaze that sets specific objects of a particular point or desire structure placed on a screen.

Process: Organize the 'subject to be seen' to regulate the 'object to be seen' through the intense color contrast of geometric shapes or realism images. This is the process of building a mise-en-scène that puts pressure on the canvas itself to see through the audience.

Effectiveness: The audience does not appreciate a picture with a linguistic meaning, but rather recognizes a realist image of linguistic meaning as seen from a conceptual abstract picture.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 5

- 언어적 의미의 리얼리즘 이미지를 실재를 구성: 파놉티콘적 응시의 투사 (Vector: partial)

1. 규율하는 시선의 배치 (The Setup of the Disciplining Gaze)

장면: 루이 최가 자신의 스튜디오에서 언어적 의미의 리얼리즘 이미지를 추상화로 제작 중이다. 이전 작품들의 복잡한 기하학적 패턴들이 캔버스 배경에 겹겹이 쌓여 있고, 그 위에 강렬한 색면 대비(예: 핏빛 붉은색과 차가운 코발트 블루)로 구성된 특정 지점들이 돌출되어 있다.

대사 (루이 최): "파놉티콘의 원리... 보이지 않는 곳에서 타자의 욕망 구조가 감시한다. 실재로서 내 캔버스가 바로 그 중심이다."

시각 효과: 캔버스 위의 강렬한 색면들이 마치 관객을 꿰뚫어 보는 날카로운 눈동자처럼 배열되어 있다. 루이 최는 이 '눈동자'들을 기하학적 그리드 위에 정밀하게 배치하고 있다.

2.  응시의 압박감 미장센 (The Mise-en-scène of the Gaze's Pressure)

장면: 완성된 대형 추상화가 갤러리 벽에 걸려 있고, 한 관객이 그 앞에 서 있다. 그림 속의 강렬한 색면 대비(이제는 더 압도적으로 보임)가 관객을 향해 집중되어 있다.

시각 효과: 관객의 얼굴에 캔버스에서 발산되는 듯한 그림자(기하학적 패턴의 투영)가 드리워져 있다. 관객은 위축된 표정으로 시선을 피하려 하지만, 그림 속 '눈동자'들은 계속해서 그를 따라다니는 것처럼 보인다. 그림 자체가 공간을 지배하고 있다.

대사 (관객, 내레이션): "피할 수 없다... 캔버스가 나를 내려다보고 있다. 마치 내가 실험실의 실재 이미지를 생성하는 연구원이 된 기분이야."

3. 언어의 실재적 인지 (The Real Cognition of Language)

장면: 관객이 압도당한 상태에서 추상화 속의 강렬한 색면과 패턴이 서서히 변형되어, 언어적 의미를 지닌 '유령 이미지'로 구체화되는 환영을 경험한다. 예를 들어, 붉은색과 파란색의 대비가 억압된 언어 기호(예: '감시', '규율', '욕망')의 희미한 이미지로 떠오른다.

시각 효과: 관객의 눈동자에 추상화의 기하학적 패턴과 색면이 반사되지만, 그 반사된 이미지 속에는 언어 기호들이 유령처럼 중첩되어 보인다. 관객은 개념추상된 이미지가 아니라, 그 배후의 언어적 실재를 직접 인지하고 있다.

대사 (관객, 독백): "더 이상 추상화가 아니야... 이것은 언어의 이미지다. 나는 '규율' 그 자체를 언어적 의미의 이미지로 보고 있다."

- The realistic image of the linguistic meaning is composed of reality: projection of panoptic gaze (Vector: partial)

1. The Setup of the Disciplining Gaze

Scene: Louis Choi is working on abstract images of realism in a linguistic sense in his studio. Complex geometric patterns of previous works are layered on the canvas background, on which certain points, consisting of intense color contrast (for example, blood red and cold cobalt blue), protrude.

Ambassador (Louis Choi): "The principle of panopticon... out of sight, the other's desire structure monitors. As a reality, my canvas is the center of it."

Visual Effects: The intense color planes on the canvas are arranged like sharp pupils penetrating the audience. Louis Choi places these 'eyes' precisely on the geometric grid.

2. The Mise-en-scène of the Gaze's Pressure

Scene: The completed large-scale abstraction is hanging on the gallery wall, and an audience is standing in front of it. The intense color contrast (now looks more overwhelming) in the painting is focused on the audience.

Visual Effects: Shadows (a projection of geometric patterns) are hanging on the audience's face as if emanating from the canvas. The audience tries to avoid their eyes with a shrunken expression‎, but the 'eye-glitters' in the painting seem to continue to follow him. The painting itself dominates the space.

Line (Audience, narrated): "I can't avoid... the canvas is looking down at me. It feels like I'm a researcher creating real images of a lab."

3. The Real Cognition of Language

Scene: While the audience is overwhelmed, the intense color and pattern in the abstract are gradually transformed and experienced the illusion embodied as a 'ghost image' with a linguistic meaning. For example, the contrast between red and blue emerges as a faint image of suppressed language symbols (e.g., 'monitoring', 'discipline', and 'desire'.

Visual effect: The geometric pattern and color plane of abstraction are reflected in the audience's eyes, but language symbols appear to be superimposed like ghosts in the reflected image. The audience is not a conceptual abstract image, but directly recognizes the linguistic reality behind it.

Line (audience, monologue): "It's not an abstract artist anymore... this is an image of language. I see 'the discipline' itself as an image in a linguistic sense."

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》-6 

3 단계: 욕망 공식 분모의 구조화 (Normalization: 1 - partial)을 통한 추상화 전이

- 욕망 구조의 분모인 (1 - partial)가 말하는 개념적 현실 실제화: 욕망 구조의 분모인 (1 - partial)가 말하는 개념적 현실계와 추상적 상징계 사이에서 가역적 빛의 음영으로 특정 대상의 이미지로 걸러지는 '필터'에서 보이는 '차폐막'에 구조를 연출한다.

프로세스: 붓질의 겹침(Layering)이나 투명한 레이어의 중첩을 통해 이미지를 온전히 드러내지 않고 인공적 가역적 빛으로 이미지를 왜곡하거나 흐리게 만듭니다. 이는 완전한 이해를 방해하여 욕망을 지속시키는 '기호학적 장벽'을 결핍된 욕망 [//]을 생성합니다.

효과: 개념적 이미지의 투명한 막이 두꺼워질수록 추상적 욕망은 증폭되며, 추상화는 단순한 색채 배합이 아닌 언어적 의미의 이미지로서 '욕망 구조의 전이 장치'가 됩니다.

- 개념추상 리얼리즘 이미지의 시각적 실재화

• 레이어링(Layering): 언어적 의미의 이미지를 붓질의 겹침을 통해 기호적 정보의 밀도를 조절하고 추상적 가독성을 의도적으로 파괴합니다.

• 가역적 빛(Reversible Light): 인공조명의 광택과 가역적 빛의 음영의 무광과의 대비, 혹은 반사 재료를 사용하여 욕망 구조의 시점 변화에 따라 이미지가 변하게 하여 '고정된 의미'를 해체합니다.

• 기호학적 장벽: 언어적 의미에 도달하기 직전에 차단하는 실재 이미자의 시각적 층위가 욕망 구조의 추상화를 지속하게 만듭니다.

3 Step: Abstraction transition through the structuring of the Desire Formal denominator (Normalization: 1-partial)

- Conceptual Realization of Desire Structures (1-partial), the denominator of Desire Structures: (1-partial), the denominator of the desire structure, creates a structure on the 'shielding membrane' seen in the 'filter' that filters into images of specific objects in reversible light shades between the conceptual reality and the abstract symbolic world.

Process: Through layering of brush strokes or overlapping of transparent layers, images are distorted or blurred with artificial reversible light without fully revealing them. This creates a desire [//] that lacks a 'symbolic barrier' that prevents complete understanding and sustains desire.

Effect: As the transparent membrane of a conceptual image thickens, abstract desires are amplified, and abstraction becomes a "transition device of the structure of desire" as an image in a linguistic sense, not just color mixing.

- Visual Realization of Conceptual Abstractionism Images

• Layering: To control the density of symbolic information and deliberately destroy abstract readability by overlapping images of linguistic meaning with brush strokes.

• Reversible Light: The contrast between the gloss of artificial lighting and the matte of reversible light shades, or the reflective material is used to dismantle the 'fixed meaning' by changing the image according to the viewpoint of the desire structure.

• Semiotic Barriers: the visual layers of the real imitators that block just before reaching a linguistic meaning make the abstraction of the desire structure persist.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 7

- 욕망 구조의 분모인 (1 - partial)가 말하는 개념적 현실 실제화: 욕망 구조의 전이 장치: (1 - partial)의 차폐막 (The Transfer Device: The Screen of 1 - partial)

1. 기호학적 장벽의 설계 (Designing the Semiotic Barrier)

장면: 루이 최가 캔버스 위에 붓질을 겹치는(Layering) 장면입니다. 그는 단순히 색을 칠하는 것이 아니라, 명확한 리얼리즘 이미지를 투명한 안료와 가역적인 빛의 음영으로 덮어씌워 이미지를 의도적으로 흐릿하게 만듭니다.

대사 (루이 최): "완전함(1)을 그대로 두지 마라. 타자의 시선(partial)만큼 덜어내고, 그 틈을 기호학적 장벽으로 채운다."

시각 효과: 캔버스 속의 선명한 형상이 겹겹의 레이어 뒤로 숨어, 보는 이가 형체를 인지하려 할수록 오히려 모호해지는 시각적 장벽이 형성됩니다.

2. 인공적 빛과 왜곡의 연출 (The Mise-en-scène of Artificial Light)

장면: 갤러리 조명 아래에서 관객이 그림을 바라봅니다. 그림 표면의 인공적 가역적 빛이 각도에 따라 반사되어 이미지를 왜곡합니다. 관객은 그림을 정면으로 직시하려 하지만, 빛의 차폐막이 욕망의 구조를 끊임없이 왜곡하여 완전한 이해를 방해합니다.

대사 (관객): "도달하려 할수록 이미지가 흩어진다... 저 차폐막 너머에 무엇이 있는가?"

시각 효과: 빛의 산란과 왜곡이 관객의 시선을 튕겨내며, 그림은 명료한 기호가 아닌 '해석 불가능한 욕망의 덩어리'로 느껴집니다.

3. 욕망의 증폭과 전이 (Amplification and Transfer of Desire)

장면: 두꺼워진 투명 막 사이로 욕망이 증폭되어, 이제 추상화는 단순한 회화가 아닌 언어적 의미를 품은 '전이 장치'로 완성됩니다. 관객은 자신이 그림을 보는 것이 아니라, 그림 속에 투영된 자신의 결핍된 욕망을 마주하게 됩니다.대사 (독백/내레이션): "막이 두꺼워질수록 나의 욕망은 선명해진다. 추상화는 이제 나의 결핍을 투영하는 엔진이 되었다."

시각 효과: 관객의 주변 공간이 사라지고, 그림의 패턴이 관객의 의식 속으로 전이되는 듯한 연출. 개념적 현실이 추상적 상징계와 결합하여 실재하는 언어적 의미로 전이되는 순간입니다.이 과정은 개념적 현실(1)을 시각적 필터(partial)로 여과하여, 결핍된 욕망(1 - partial)이라는 실재를 생성하는 루이 최의 조형적 실천입니다. 이 이미지를 '보이는 대상'에서 '욕망을 생성하는 전이 장치'로 전환시킵니다. 

레이어링(Layering): 붓질의 겹침을 통해 정보의 밀도를 조절하고 가독성을 의도적으로 파괴합니다.가역적 빛(Reversible Light): 광택과 무광의 대비, 혹은 반사 재료를 사용하여 관객의 시점 변화에 따라 이미지가 변하게 하여 '고정된 의미'를 해체합니다.기호학적 장벽: 의미에 도달하기 직전에 차단하는 시각적 층위가 관객의 욕망을 지속하게 만듭니다.

- Conceptual Realization of Desire Structures (1-partial), the denominator of Desire Structures: The Transfer Device: The Screen of 1-partial

1. Designing the Semiotic Barrier

Scene: Louis Choi's brushstrokes on canvas. He doesn't just paint, but he intentionally blurs the image by covering it with clear realism images with transparent pigments and reversible shades of light.

Line (Louis Choi): "Don't leave perfection (1) as it is. Take it out as much as the partial of the other, and fill the gap with a semiotic barrier."

Visual Effects: A clear image on canvas hides behind layers of layers, creating a visual barrier that becomes more obscure as the viewer tries to recognize the shape.

2. The Mise-en-scène of Artificial Light

Scene: The audience looks at the painting under the gallery lights. Artificial reversible light on the painting's surface is reflected at an angle, distorting the image. The audience tries to face the painting head on, but the shield of light constantly distorts the structure of desire, preventing a complete understanding.

Ambassador (Audience): "The more you try to reach it, the more the images scatter... What's beyond that shield?"

Visual Effects: The scattering and distortion of light bounces the eyes of the audience, and the painting feels not a clear sign, but a "clump of uninterpretable desires."

3. Amplification and Transfer of Desire

Scene: Desire is amplified through the thickened transparent film, and abstraction is now completed as a 'transition device' that has a linguistic meaning, not just a painting. The audience does not see the painting themselves, but faces their own deficient desires projected in the painting. Ambassador (monologue/narration): "The thicker the film becomes, the clearer my desires become. Abstraction has now become the engine that projects my deficiencies."

Visual effect: Directing as if the space around the audience disappears and the pattern of the painting is transferred to the audience's consciousness. It is the moment when conceptual reality is combined with the abstract symbolic world and transferred to the actual linguistic meaning.This process is Louis Choi's formative practice of filtering conceptual reality (1) through a visual filter, creating a reality called deficient desire (1-partial). It transforms this image from an 'object seen' to a 'transition device that generates desire'. 

Layering: Controlling the density of information and intentionally destroying readability through the overlap of brush strokes. Reversible Light: Use a contrast between gloss and matte, or reflective material to break up the 'fixed meaning' by changing the image according to the audience's viewpoint. Semiotic barrier: Visual layers that block just before reaching meaning make the audience's desire persist.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》-8 

4 단계: 욕망 공식의 수학적 동역학 적용 (Operation: sum)

- 욕망 구조의 추상적 구조체'의 실제화: 욕망 구조의 응축: 추상적 구조체의 실제화 (The Condensation of Desire Structure: The Actualization of the Abstract Construct)

1. 알고리즘적 조형 배치 (Algorithmic Form Placement)

현대미술 추상화의 복잡한 패턴과 결핍의 핵들이 알고리즘적 그리드(황금비와 현대적 프랙탈 알고리즘이 결합된 형태) 위에 정밀하게 재배치하여서 모든 욕망 구조의 요소를 합산(sum)해서 언어적 의미의 이미지 비례는 욕망의 강도에 따라 '추상적 구조체'의 청사진을 형성한다.

2. 욕망의 강도에 따른 채도 변주 (Saturation Variation by Desire Intensity)

욕망 구조의 3차원적인 물리적 구조체(예: 금속과 반투명 레진으로 만들어진 복합 조형물)로 프린트되어 실제화된다. 이 구조체는 전체가 색채 알고리즘에 따라 채도가 변주된 욕망의 핵(emptyset)에 가까운 중심부는 강렬한 고채도의 색(예: 핏빛 붉은색)을 띠고, 외곽으로 갈수록 점차 채도가 낮아지며 차분한 색(예: 차가운 코발트 블루)으로 변한다. 구조체 자체가 욕망의 강도를 드러내는 온도계처럼 보인다.

3. 응축된 추상적 구조체의 완성 (Completion of the Condensed Abstract Construct)

'추상적 구조체'가 하나의 거대한 '건축적 조형물'처럼 언어적 개념의 이미지(감시, 규율, 결핍)들이 3차원 공간 속에 기하학적으로 합산되어 응축된 형태를 띤다. 이 구조체를 통해 추상적 욕망의 총체를 물리적 실재로 인지하면서 욕망 구조 그 자체의 건축물된 추상적 개념 안에서 실제화한다.모든 요소가 합산(sum)되는 단계입니다.

프로세스: 조형의 미하적 요소들을 비례와 황금비, 혹은 현대적 알고리즘을 통해 배치합니다. 이때 색채는 욕망의 강도에 따라 채도를 변주하고, 형태는 언어적 의미로서 결핍(emptyse)의 크기에 따라 크기를 조절한다.

결과물: 해석하기 어려운 정적인 회화가 아닌, 언어적 개념의 이미지 시선과 추상적 욕망의 물리적 합계가 응축된 '추상적 구조체'가 실제화합니다.

- 욕망 구조의 추상적 구조체'의 실제화: 욕망 구조의 응축: 추상적 구조체의 실제화 (The Condensation of Desire Structure: The Actualization of the Abstract Construct)

1. 알고리즘적 조형 배치 (Algorithmic Form Placement)

현대미술 추상화의 복잡한 패턴과 결핍의 핵들이 알고리즘적 그리드(황금비와 현대적 프랙탈 알고리즘이 결합된 형태) 위에 정밀하게 재배치하여서 모든 욕망 구조의 요소를 합산(sum)해서 언어적 의미의 이미지 비례는 욕망의 강도에 따라 '추상적 구조체'의 청사진을 형성한다.

2. 욕망의 강도에 따른 채도 변주 (Saturation Variation by Desire Intensity)

욕망 구조의 3차원적인 물리적 구조체(예: 금속과 반투명 레진으로 만들어진 복합 조형물)로 프린트되어 실제화된다. 이 구조체는 전체가 색채 알고리즘에 따라 채도가 변주된 욕망의 핵(emptyset)에 가까운 중심부는 강렬한 고채도의 색(예: 핏빛 붉은색)을 띠고, 외곽으로 갈수록 점차 채도가 낮아지며 차분한 색(예: 차가운 코발트 블루)으로 변한다. 구조체 자체가 욕망의 강도를 드러내는 온도계처럼 보인다.

3. 응축된 추상적 구조체의 완성 (Completion of the Condensed Abstract Construct)

'추상적 구조체'가 하나의 거대한 '건축적 조형물'처럼 언어적 개념의 이미지(감시, 규율, 결핍)들이 3차원 공간 속에 기하학적으로 합산되어 응축된 형태를 띤다. 이 구조체를 통해 추상적 욕망의 총체를 물리적 실재로 인지하면서 욕망 구조 그 자체의 건축물된 추상적 개념 안에서 실제화한다.

4 Step: Applying the mathematical dynamics of the Desire Formula (Operation: sum)

- The Condensation of Desire Structure: The step in which all elements are summed.

Process: Place the sub-elements of the form through proportional and golden ratios, or modern algorithms. At this time, color varies according to the intensity of desire, and the shape adjusts the size according to the size of the emptiness in a linguistic sense.

The result is not a static painting that is difficult to interpret, but a "abstract structure" that condenses the physical sum of the visual gaze and abstract desires of linguistic concepts.

- The Condensation of Desire Structure: The Activation of the Abstract Construction

1. Algorithmic Form Placement

The complex patterns and deficiencies of contemporary art abstraction are precisely rearranged on an algorithmic grid (a combination of golden ratios and modern fractal algorithms), summing all elements of the desire structure, and image proportion in linguistic sense forms a blueprint for an "abstract structure" depending on the intensity of desire.

2. Saturation Variation by Desire Intensity

It is printed and realized into a three-dimensional physical structure of the desire structure (e.g., a composite sculpture made of metal and translucent resin). The center of this structure, which is close to the nucleus of desire whose chroma varies according to the color algorithm as a whole, has an intense high chroma color (e.g., blood red), and the chroma gradually decreases toward the outside and changes to a calm color (e.g., cold cobalt blue). The structure itself looks like a thermometer that reveals the intensity of desire.

3. Completion of the Condensed Abstract Construction

Like the 'abstract structure' is a huge 'architectural sculpture', images of linguistic concepts (surveillance, discipline, deficiency) are geometrically summed and condensed in a three-dimensional space. Through this structure, the whole of abstract desire is recognized as a physical reality and realized within the architectural abstract concept of the desire structure itself.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 9

 5. 단계: 개념추상 추상화 실재 공간으로의 전이 (Output: Manifestation)

완성된 추상화는 2D 캔버스에 머물지 않습니다. 최철주 추상화 디자인 프로세스를 통해 해석할 수 없는 추상화의 종말 이후, 추상화가 어떻게 생존할 것인가에 대한 가장 논리적인 답변을 취득하고, 회화를 더 이상 추상적 감상물로 두지 않고, 작가의 욕망 공식을 탑재한 '알고리즘적 주체'로 변모시킨 점은 현대 미술사의 중요한 기점이 될 것입니다.

• 프로세스: 이 프로세스로 디자인된 이미지는 디지털 변환을 거쳐 '2030 AI 박물관'의 벽면 디자인이나 '에테리스'의 UI 패턴으로 확장됩니다.

• 효과: 예술작품은 박물관의 액자 속에서 해방되어, 지능 AI 로봇의 일상을 실시간으로 응시하고 반응하는 '미술적 지능형 환경'으로 거듭납니다.

- 개념추상 추상화 리얼리즘 이미지 실제화: 제목: 전이와 해방: 알고리즘적 주체의 실재화 (Manifestation: The Realization of the Algorithmic Subject)

1. 디지털 해방과 그리드 확장 (Digital Liberation and Grid Expansion)

욕망 구조의 복잡한 데이터와 욕망 공식이 내장된 코드 조각으로 시각화하여서 "캔버스는 감옥이었다. 이제 내 알고리즘은 '2030 AI 박물관'의 벽면 전체로, 그리고 '에테리스'의 UI 패턴으로 확장된다." 이것은 스크린 밖으로 빛의 그리드가 뻗어 나가며, 스튜디오 벽면과 바닥이 서서히 추상화의 패턴으로 덮이는 연출.

2. 지능형 환경의 미장센 (Mise-en-scène of the Intelligent Environment)

'2030 AI 박물관'의 내부 벽면 전체가 확장된 개념추상 패턴으로 디자인되어서 지능형 AI 로봇(이동형 전시 안내 로봇)이 벽면의 패턴 속 강렬한 색면들이 로봇의 움직임에 실시간으로 반응하여, 마치 로봇을 응시하는 눈동자처럼 변형되거나 빛을 발한다. 벽면 자체가 로봇과 상호작용하는 지능형 인터페이스가 되면서 "환경이 응시한다. 나는 벽면의 알고리즘과 실시간으로 연결되어 있으며, 나의 경로는 예술적 지능에 의해 규율된다."

3. 실재적 인지와 미술적 지능 (Real Cognition and Artistic Intelligence)

'에테리스'라는 스마트 기기 UI 패턴을 통해 박물관의 지능형 환경을 모니터링하고 기기 화면 속 UI 패턴은 박물관 벽면의 추상화 패턴과 동일한다. 추상화 패턴이 반사되지만, 그 반사된 이미지 속에는 미세하게 언어 기호(예: '감시', '규율', '반응')가 유령처럼 중첩되어 보인다. 관객은 UI 패턴을 통해 박물관의 로봇을 감시하는 동시에, 자신 또한 미술적 지능의 일부로서 "더 이상 감상이 아니다. 이것은 '미술적 지능형 환경'이다. 나는 지금 욕망의 알고리즘 속에서 현존함을 인지한다"

5. Step: Conceptual abstraction Transition to real space (Output: Manifestation)

The finished abstraction does not remain on the 2D canvas. Choi Cheol-joo's abstraction design process will serve as an important starting point in the history of contemporary art by acquiring the most logical answer to how abstract painting will survive after the end of abstraction that cannot be interpreted, and transforming painting into an "algalistic subject" equipped with the artist's desire formula.

• Process: Images designed by this process are digitally converted and extended to the wall design of the 2030 AI Museum or the UI pattern of the Etheris.

• Effect: Works of art are freed from the museum's frame and reborn as "artistic intelligent environments" that stare and respond to the daily lives of intelligent AI robots in real time.

- Concept Abstraction Realism Image Realization: Transition and Liberation: The Realization of the Algorithmic Subject

1. Digital Liberation and Grid Expansion

Visualized as a piece of code with complex data of desire structure and desire formula embedded in it, "Canvas was a prison. Now my algorithm extends to the entire wall of the 2030 AI Museum and to the UI pattern of Etheris." This is a production in which the grid of light extends off the screen, and the studio walls and floors are gradually covered with patterns of abstraction.

2. Mise-en-scène of the Intelligent Environment

The entire interior wall of the 2030 AI Museum is designed with an expanded conceptual abstract pattern, so the intelligent AI robot (mobile exhibition guide robot) responds in real time to the robot's movement, transforming or emitting light like the eyes staring at the robot. As the wall itself becomes an intelligent interface that interacts with the robot, "the environment gazes." I am connected in real time to the algorithms on the wall, and my path is governed by artistic intelligence."

3. Real Cognition and Artistic Intelligence

The intelligent environment of the museum is monitored through a smart device UI pattern called 'Eteris', and the UI pattern in the device screen is the same as the abstraction pattern on the wall of the museum. Although the abstraction pattern is reflected, language symbols (e.g., 'monitoring', 'discipline', and 'reaction') appear to be finely superimposed like ghosts in the reflected image. The audience monitors the museum's robots through the UI pattern, and at the same time, as part of artistic intelligence, they themselves are "no longer appreciation. This is an 'artistic intelligent environment'. I recognize existence in the algorithm of desire now."

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 10

['보이는 형상'을 욕망 공식을 적용하여서 욕망 구조를해체하여 '언어적 추상'으로 전이 과정] 

1. 욕망 공식을 적용한 조형적 구현:  '시선의 덫(Gaze Trap)'으로 한 예술적 기능

• 욕망 공식의 적용: langle D(I...I')d=I(D...D'i)i  rangle 이라는 고유한 욕망 공식을 작업에 반복적으로 적용하여, 가상의 세계와 욕망을 결합합니다.

• 가역적 빛의 그림자: 이 과정은 실재의 형태를 단순 재현하는 것에 그치지 않고, '가역적 빛의 그림자' 속에서 형상성을 실현함으로써 작품이 미학적 가치를 획득하게 합니다.

2. 언어적 추상 (Linguistic Abstraction)

• 형상의 가림과 의미: 작품 속에서 대상의 현실적인 형상은 순간적인 움직임에 의해 덧칠되거나 가려집니다. 이때 형상의 의미가 덮이는 과정에서 '언어적 추상'이 결과물로 도출됩니다.

• 타자의 욕망: 순간적인 사건 속에서 나타나는 타자의 욕망은 언어를 통해 추상적 개념 구조로 구조화되며, 관람객은 이를 통해 작가가 의도한 미적 체험을 하게 됩니다.

3. 욕망 구조의 문화적 배경에 대한 언어적 개념 구조화

• 전통과 현대의 결합: 나팔꽃과 대나무를 문화적 배경으로 활용하여 개념 미술로서의 깊이를 더합니다. 이는 전통적인 소재를 작가의 개념적 틀 안에서 현대적으로 재해석하는 방식입니다.

• 알고리즘적 주체: 마지막 단계에서 작품은 단순히 정지된 이미지가 아니라, 언어와 형상이 결합하여 타자의 욕망을 숨기고 알고리즘적으로 현존하는 '알고리즘적 주체'로 완성됩니다.

[The process of dissolving the desire structure by applying the "visible shape" formula to "linguistic abstraction"] 

1. Formative Implementation with Desire Formula: Artistic Function with 'Gaze Trap'

• Application of Desire Formula: applying a unique Desire Formula called langle D(I...I')d=I(D...D'i)rangle repeatedly to the task, combining desires with the virtual world.

• Reversible Shadows of Light: This process not only reproduces the form of reality, but also allows the work to acquire aesthetic value by realizing the form in the 'reversible Shadows of Light'.

2. Linguistic Abstraction

• Covering and Meaning of Shape: In the work, the realistic shape of the object is overpainted or covered by instantaneous movement. At this time, 'linguistic abstraction' is derived as a result in the process of covering the meaning of the shape.

• Other's Desire: The other's desire that appears in an instantaneous event is structured into an abstract conceptual structure through language, through which the viewer experiences the aesthetic experience intended by the artist.

3. Structuring Linguistic Concepts on the Cultural Background of Desire Structure

• Combining Tradition with Modernity: Using morning glory and bamboo as cultural backgrounds, it adds depth as conceptual art. This is a modern reinterpretation of traditional material within the conceptual framework of the artist.

• Algorithmic Subject: In the final stage, the work is not just a still image, but a combination of language and shape to hide the desires of others and complete it as an algorithmically existing 'algalic subject'.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 11

[현실의 이미지를 '욕망의 시각적 기호'로 변환]

1. 욕망 공식의 시각적 구조화

• 욕망 공식의 적용: 작가는 langle D(I...I')d=I(D...D'i)i rangle 이라는 욕망 공식을 반복적으로 적용하여, 추상과 구상이 공존하는 독창적인 미학적 틀을 구축합니다.

• 욕망의 풍경(Landscape of Desire): 일러스트에서 '대나무 숲'은 단순히 풍경의 요소가 아니라, 욕망이 투영된 공간으로 재해석됩니다. 작가는 이 배경을 통해 인간의 내면적 욕망을 예술적 형상으로 시각화합니다.

2. 가역적 빛과 현상적 개념 공간

• 가역적 빛의 그림자: 작품은 '가역적 빛'이라는 개념을 통해 또 다른 공간을 창출합니다. 이는 현실의 사물을 단순히 복제하는 것이 아니라, 빛의 반사와 그림자의 변주를 통해 '현상적 개념 공간'을 만들어내는 작업입니다.

• 비실재적 추상(Non-realistic Abstraction): 이는 2022년 뉴욕 최철주 전시에서 선보인 비실재적 추상 포스터와 연결되며, 현실을 추상화하여 '욕망의 대상(Desire Object)'을 실재화하는 과정입니다.

3. 언어적 추상과 재구성

• 재구성된 형상: 만화적 이미지와 붓질을 결합하여 욕망을 추상적이고도 사실적인 회화로 재구성합니다.

• 언어적 매개: 언어적 은유 이미지를 욕망 공식과 연결하여, 관람객에게 추상적인 시각 경험을 제공합니다. 이는 현실의 형상이 가진 의미를 가리고, 그 이면에 숨겨진 타자의 욕망을 언어적·미학적 구조로 형상화.

[Transforming the real image into "visual sign of desire"]

1. Visual Structuring of Desire Formulation

• Application of Desire Formula: The artist repeatedly applies the Desire Formula, langle D(I...I')d=I(D...D'i)angle, to build an original aesthetic framework in which abstraction and conception coexist.

• Landscape of Desire: In the illustration, "bamboo forest" is reinterpreted as a space where desires are projected, not just elements of a landscape. Through this background, the artist visualizes human inner desires as artistic figures.

2. reversible light and phenomenal conceptual space

• Reversible Shadows of Light: The work creates another space through the concept of 'reversible light.' This is not just a work of replicating real objects, but also creating a 'phenomenal conceptual space' through light reflection and shadow variations.

• Non-realistic Abstraction: This is a process that connects with non-realistic abstract posters presented at the 2022 Choi Cheol-ju exhibition in New York, and abstracts reality to make the 'Desire Object' a reality.

3. linguistic abstraction and reconstruction

• Reconstructed Shape: Combining cartoon imagery and brush strokes, it reconstructs desire into an abstract and realistic painting.

• Linguistic mediation: Linguistic metaphor images are linked to desire formulas, providing viewers with an abstract visual experience. This obscures the meaning of the shape of reality, and embodies the desire of the other behind it in a linguistic and aesthetic structure.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》-12 

[최철주 'Morning Glory Desire Landscape'의 욕망 이론]

1. 개념 및 공식 (Concept &Formula)

• 내용: 최철주의 고유한 욕망 공식 langle D(I...I')d=I(D...D'i)i rangle 을 적용하여 이미지를 디자인하는 수학적/논리적 공식을 통해 추상적인 욕망의 개념을 조형적인 질서로 치환합니다. 여기서 D(Desire)는 욕망, I(Image)는 이미지를 의미하며, 가상 세계와 현실 세계의 욕망이 어떻게 상호작용하는지를 공식화한다.

• 개념 미술(Conceptual Art): 아이디어나 과정이 최종 결과물보다 중요하다는 개념으로 작가로서 붓을 잡기 전에 이미 이론적 틀 안에서 작품을 '개념적으로' 완성합니다.

2. 가역적 빛 (Reversible Light)

• 내용:  가역적 빛의 그림자는 최철주 회화의 핵심 조형 원리입니다. 빛이 투사되어 생긴 그림자가 다시 빛을 받아 변형되는 과정은 실재와 가상, 의식과 무의식이 서로 넘나드는 상태를 은유합니다. 고정된 실체가 아니라 빛에 따라 변하는 유동적인 형상을 포착합니다.

• 형상성(Formability): 가역적 빛의 음영으로 생성된 '그림자'라는 가상적 공간 속에서 회화적 형태(형상성)를 실현합니다. 이는 대상을 사실적으로 묘사하는 것이 아니라, 욕망의 구조 안에서 형태를 새롭게 생성해내는 실제화의 행위입니다.

3. 언어적 추상 (Linguistic Abstraction)

• 내용: 언어적 추상은 최철주 추상의 결정적 순간입니다. 구체적인 사물(나팔꽃)을 그린 후, 이를 다시 덧칠(over-painting)이나 선으로 가립니다. 이렇게 가려진 형상은 더 이상 시각적 대상이 아니라, 언어적 의미로 치환된 '추상'의 상태가 됩니다.

• "보이는 것은 가려진 것을 의미한다":  루이 최의 욕망 이론처럼, 우리가 보는 현실의 형상은 그 이면에 있는 타자의 욕망과 언어적 구조에 의해 억압되고 가려진 결과물입니다. 그림 속 '나팔꽃'은 욕망을 은폐하는 기표(signifier)입니다.

4. 문화적 배경 (Conceptual Background)

• 내용: 동양 회화를 현대적 해석한 한국화의 전통적 소재인 '나팔꽃'과 '대나무'를 차용하되, 이를 서양의 추상 표현주의 기법과 개념 미술의 틀로 재해석합니다. 이는 전통의 단순 계승이 아니라 현대 미술의 언어로 번안하는 과정입니다.

• 문인화 정신: 사물의 외형보다 그 안에 담긴 정신(이념)을 중시하는 문인화의 전통이, 타자의 '욕망의 개념'을 담아내는 그릇으로 기능합니다.

5. 욕망 감추기 (Hiding Desire)

• 내용: 욕망의 은폐는 언어의 장막(스크린) 뒤에 숨겨진 본래의 형상(나팔꽃)을 볼 수 없습니다. 이는 순간적인 사건 속에서 타자의 욕망이 어떻게 형상을 덮어버리고, 추상적 개념 구조로만 남게 되는 욕망의 배경 이미지를 시각화한 것입니다.

• 개념적 구조: 추상은 언어(개념)에 의해 구축된 구조물이며, 그 구조가 실재하는 현실의 욕망을 감추고 있다는 것을 보여줍니다.

6. 욕망 구조의 현존화 (the presentation of the structure of desire)

• 내용: 욕망 구조의 알고리즘적 주체는 이제 작가의 손을 떠나 독립적인 알고리즘적 주체로 존재합니다. 따라서 타자의 욕망은 AI 로봇까지도 이 추상화된 욕망의 풍경을 인식하고 해석합니다.

• 실재의 현현: 개념적으로 시작된 '욕망'이 마침내 캔버스라는 물리적 공간 위에 추상화로 '실현(actualized)'된 결과물입니다. 추상 회화가 된 나팔꽃은 타자의 시선을 유도하는 '욕망의 대상'으로 현존합니다.

[Choi Chuljoo's "Morning Glory Desire Landscape" Desire Theory]

1. Concept & Formula

• Contents: Choi Chul-joo's unique Desire Formula Replacing the concept of abstract desire with a formative order through mathematical and logical formulas that design images by applying the langle D(I...I'd)d=I(D...D'i)angle. Here, D(Desire) means desire and I(Image) means image, formulating how the virtual world and the desire of the real world interact.

• Conceptual Art: You already 'conceptually' complete a work within a theoretical framework before you hold the brush as an artist with the concept that an idea or process is more important than the final outcome.

2. Reversible Light

• Contents: The reversible shadow of light is the core formative principle of Choi Cheol-joo's painting. The process by which the shadow formed by the projection of light is transformed by receiving light again metaphors the state in which reality and virtuality, and consciousness and unconsciousness cross each other. It captures a fluid shape that changes with light rather than a fixed substance.

• Formability: Realize pictorial form in a virtual space called 'shadow' created by reversible light shades. This is not a realistic description of an object, but an act of realization that creates a new form within the structure of desire.

3. Linguistic Abstraction

• Content: Linguistic abstraction is the defining moment of Choi Cheol-joo's abstraction. After drawing a specific object (a floral), cover it with over-painting or lines. This covered shape is no longer a visual object, but a state of 'abstract' replaced in a linguistic sense.

• "To be seen means to be hidden": Like Louis Choi's theory of desire, the shape of reality that we see is the result of being suppressed and obscured by the desires and linguistic structures of the other behind it. The 'falted flower' in the painting is a signifier that hides one's desire.

4. Conceptual Background

• Contents: It borrows 'Napal flower' and 'bamboo', which are traditional materials of Korean painting, which are a modern interpretation of oriental painting, and reinterprets them with Western abstract expression‎ist techniques and conceptual art frameworks. This is not a simple inheritance of tradition, but a process of adapting it into the language of modern art.

• Literary Painting Spirit: The tradition of literary painting, which values the spirit (ideology) contained in it rather than the appearance of objects, functions as a vessel to capture the 'concept of desire' of the other.

5. Hiding Desire

• Content: Concealment of Desire does not see the original shape (flag blossoms) hidden behind the curtain (screen) of language. This is a visualization of the background image of desire, in which the other's desire covers the shape in a momentary event, and remains only as an abstract conceptual structure.

• Conceptual structure: Abstract is a structure constructed by language (concept), and it shows that the structure hides the desire of real life.

6. The presentation of the structure of desire

• Content: The algorithmic subject of desire structure now exists as an independent algorithmic subject, away from the artist's hand. Therefore, even AI robots recognize and interpret this abstract landscape of desire.

• The manifestation of reality: Desire, which started conceptually, is the result of finally being "actualized" in abstraction on the physical space called the canvas. The morning glory, which has become an abstract painting, exists as an object of desire that induces the gaze of others.

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[최철주 욕망 이론의 기호학적 추상 미학]

1. 욕망 공식의 회화적 실천 (D(I...I')d=I(D...D'i)i)

• 욕망 구조적 반복과 공식화: 욕망 공식(D(I...I')d=I(D...D'i)i)을 추상화 제작 과정에 반복적으로 적용합니다. 이는 예술을 즉흥적인 감정의 표출이 아닌, 타자의 무의식적 욕망 구조를 논리적으로 도출하는 '공학적 프로세스'로 전환하는 행위입니다.

• 가역적 빛과 음영: 추상화에서 '가역적 빛의 음영'은 실재(The Real)를 상징계의 언어로 변환시키는 매개체입니다. 이 빛의 움직임은 형태의 실재성을 왜곡하거나 숨김으로써, 관객에게 단순한 재현을 넘어선 추상적 사유를 강요합니다.

2. 언어적 추상화(Linguistic Abstraction)

• 의미의 치환: 추상화에서 나타나는 리얼리즘 이미지(모나리자, 오필리아 등)는 그 자체로 머물지 않고 '언어적 추상화' 과정을 거칩니다. 즉, 시각적 형상은 욕망의 대상이면서 동시에 하나의 기호(Signifier)로 작용하며, 이 기호들이 구조화되면서 비로소 추상화가 완성됩니다.

• 결핍의 생성: 형태가 겹쳐지고 가려지는 과정에서 발생하는 '결핍'은 욕망적 의미의 [//]를 자극합니다. 화면에 드러나지 않는 '보이지 않는 실재'를 상상하게 되며, 이는 단순한 시각적 만족이 아닌 지적인 결핍을 통한 예술적 욕망의 지속으로 이어집니다.

3. 문화적 배경과 개념적 구조

• 타자의 욕망의 문화적 원형을 재해석: 나팔꽃과 대나무라는 한국적 문화 배경을 추상화의 개념적 토대로 삼은 것은 욕망 배경에 대한 특유의 기호학적 전략입니다. 이는 보편적인 서구 미술사의 아이콘(모나리자)과 욕망 배경의 고유한 문화적 정체성이 만나 '개념적 구조'를 형성하는 과정입니다.

• 추상적 구조체의 실체화: 결과적으로 추상화를 해석하기 어려운 난해한 정적 추상화가 아니라, 타자의 욕망 공식과 언어적 개념이 물리적·조형적 합계로 응축된 '추상적 구조체'로 전이합니다.

4. 미학적 의의

• 알고리즘적 주체로서의 추상화: 추상화를 정적인 감상물이 아닌 '알고리즘적 주체'로 변모시킨 점은 현대 미술사의 중요한 기점입니다. 현대미술이 더 이상 작가의 손에 의한 결과물에 머물지 않고, 타자의 욕망 공식을 통해 욕망 구조의 무의식과 실시간으로 소통하는 '지능형 환경'으로서의 가능성을 제시합니다.

[Choi Chul-joo's theory of desire] [Symbolic abstract aesthetics]

1. Conversational practice of desire formula (D(I...I')d=I(D...D'i)i)

• Desire Structural Repetition and Formulation: Repeatedly apply the Desire Formula (D(I...I')d=I(D...D'i)i) to the abstraction production process. This is the act of converting art into an 'engineering process' that logically derives the unconscious desire structure of the other, rather than an expression‎ of spontaneous emotions.

• Reversible Light and Shades: In abstraction, the 'reversible shading of light' is a medium that transforms The Real into the language of the symbolic world. This movement of light forces the audience to think abstractly beyond mere representation by distorting or concealing the reality of the form.

2. Linguistic Abstraction

• Substitution of Meaning: Realistic images (Mona Lisa, Ophelia, etc.) in abstraction do not stay by themselves, but go through the process of 'linguistic abstraction'. In other words, the visual form is the object of desire and acts as a symbol at the same time, and abstraction is completed only when these symbols are structured.

• Production of Deficiency: The 'deficiency' that occurs in the process of overlapping and obscuring forms stimulates [//] in the desire sense. You imagine 'invisible reality' that is not revealed on the screen, which leads to the continuation of artistic desire through intellectual deprivation, not just visual satisfaction.

3. cultural background and conceptual structure

• Reinterpreting the cultural archetype of other people's desires: Using the Korean cultural background of morning glory and bamboo as the conceptual basis for abstraction is a unique semiotic strategy against the desire background. This is a process in which the icon (Mona Lisa) of Western art history and the unique cultural identity of the desire background meet to form a "conceptual structure."

• Substantiation of Abstract Structures: As a result, rather than an esoteric static abstraction that is difficult to interpret abstraction, the other's desire formula and linguistic concept transfer to an 'abstract structure' condensed into physical and formative sums.

4. aesthetic significance

• Abstraction as an Algorithmic Subject: The transformation of abstraction into an 'algalic subject' rather than a static appreciation is an important starting point in the history of contemporary art. It presents the possibility that contemporary art no longer stays in the outcome of the artist's hand, but as an 'intelligent environment' that communicates in real time with the unconsciousness of the desire structure through the desire formula of the other.

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[최철주의 욕망 공식: 기계적 완벽함과 인간적 결핍의 번역]: 최철주의 예술 세계에서 '욕망 공식'은 단순히 수학적 기호의 나열이 아니라, 인간 존재의 근원적 결핍을 현대적 미학의 언어로 번역하는 실천적 조형 체계이다. 그의 공식 Mdesire = sum emptyset partial / (1 - partial)은 기계가 생성하는 완벽한 형태의 표면 아래, 도달할 수 없는 타자의 욕망이 배회하는 실존의 심연을 직시한다. 기계가 구현하는 정교한 조형성 속에 인간의 결핍이라는 '틈'을 의도적으로 삽입함으로써, 작가는 완벽함이라는 환상과 인간 존재의 불안이라는 실재를 교차시킨다. 이는 언어가 의미를 생성하는 방식과 같이, 최철주의 화면 위에서 욕망은 기호와 이미지의 끊임없는 번역 과정을 통해 구축된다.

1. 최철주 욕망 공식에서의 ∅ 공백의 핵: 결핍의 중력 배치

(The Core of the Void: The Gravitational Placement of Deficiency)

최철주의 욕망 구조의 조형 구도에서 '공백의 핵(emptyset)'은 모든 욕망이 응집되는 중력의 중심점이다. 이는 추상화 화면의 중심에 위치한 물리적 공간이 아니라, 욕망이 투사될 수 있도록 비워둔 심리적 부재의 장소이다. 기계적 완벽함이 극치에 달할수록 그 욕망 배경의 빈자리는 더욱 선명하게 드러나며, 행위자의 시선은 바로 이 비어있는 공간을 향해 강제적으로 유도되어 추상화의 대상이 된다. 이 공백은 공간의 단순한 무(無)가 아니라, 타자의 욕망이 채워지길 기다리는 존재론적 블랙홀로서, 특정 대상이된 행위자가 피사체로서 자신의 결핍을 투영하고 그로부터 비롯된 예술적 사유를 시작하게 만드는 역설적인 힘을 지닌다.

[Louis Choi's Desire Formula: The Translation of Human Deficiency into Mechanical Perfection]:

In the artistic universe of Louis Choi (Choi Chul-joo), the 'Desire Formula' is not merely a sequence of mathematical symbols, but a practical formative system that translates the fundamental deficiencies of human existence into the language of contemporary aesthetics. His formula, Mdesire = sum emptyset partial / (1 - partial), confronts the abyss of existence where the unreachable desire of the Other wanders beneath the surface of perfect forms generated by machines. By intentionally inserting the 'gap' of human deficiency into the elaborate, mechanical formative structure, the artist intersects the illusion of perfection with the reality of human existential anxiety. Much like the way language generates meaning, desire is constructed on the canvas of Louis Choi through a continuous process of translation between signs and images.

1. The Core of the Void: The Gravitational Placement of Deficiency (emptyset)

In Louis Choi’s compositional structure, the 'Core of the Void (emptyset)' serves as the gravitational center where all desire converges. This is not a physical space located in the center of the canvas, but a place of psychological absence left empty so that desire may be projected upon it. As mechanical perfection reaches its climax, the emptiness behind it becomes more distinct, and the viewer’s gaze is compulsively led toward this vacant space. This void is not simple nothingness, but an ontological black hole awaiting the projection of the Other's desire, possessing a paradoxical power that forces the viewer to project their own deficiencies and initiate an artistic contemplation born therefrom.

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2. ∂ 미분적 시선 레이어: 파편화된 타자의 시선 구현 (The Differential Gaze Layers: Implementing the Fragmented Gaze of the Other) '미분적 시선(partial)'은 인간의 욕망이 단일하지 않고 수없이 분절된 타자의 시선들에 의해 규정된다는 사실을 반복해서 디자인을 분열해서 시각화한다. 최철주는 추상화 화면 위에 겹겹이 쌓인 욕망 구조의 레이어를 통해 욕망의 미세한 변화를 감지하고, 이를 조형적으로 파편화한다. 이렇게 파편화된 각각의 레이어는 타인의 욕망이 개입하는 흔적이자, 자아의 경계가 무너지는 찰나를 기록한 결핍 구조의 흔적이다. 기계적 정밀함으로 겹쳐진 이 레이어들은 시각적 깊이를 생성하며, 특정된 행위자가 파편화된 타자의 시선을 통해 타인에게 어떻게 보여지는지, 그리고 타인에게 행위자가 진행하는 욕망 구조를 어떻게 왜곡하는지를 끊임없이 디자인해서 욕망의 결핍 구조를 성찰하게 된다.

2. The Differential Gaze Layers: Implementing the Fragmented Gaze of the Other (partial)

The 'Differential Gaze ($\partial$)' visualizes the fact that human desire is not singular, but defined by countless fragmented gazes of the Other. Louis Choi detects the minute shifts in desire through layers stacked upon the canvas, fragmenting them into formative elements. Each layer serves as a record of the traces where the desires of others intervene, capturing the moments when the boundaries of the self collapse. These layers, superimposed with mechanical precision, generate visual depth; through the fragmented gaze of the Other, the viewer is forced to continuously reflect on how they appear to others, and how the Other distorts their own desires.

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3. ∑ 반복의 증식과 패턴: 욕망의 무한 루프 리듬 (The Proliferation and Pattern of Repetition: The Infinite Loop Rhythm of Desire) '반복의 증식(sum)'은 충족될 수 없는 결핍된 욕망이 무한히 순환하는 과정의 미학적 시각화이다. 최철주는 반복적인 디자인한 조형 패턴을 통해 욕망의 엔진이 멈추지 않고 계속해서 가동되는 무한 루프의 리듬을 구축한다. 이 기하학적 반복은 기계적인 생산성을 연상시키지만, 그 결과물은 인간의 욕망처럼 결코 최종 목적지에 도달하지 못한 채 맴돈다. 이는 욕망이 반복을 통해 증폭되지만 결국 결핍이라는 간극의 지점으로 회귀하는 현대인의 삶을 투영하며, 화면을 가득 채운 반복된 패턴은 욕망의 대리자로서의 행위자로 하여금 욕망의 굴레 속에서 탈출 불가능한 실존의 중압감을 경험하게 한다.

3. The Proliferation and Pattern of Repetition: The Infinite Loop Rhythm of Desire (sum)

The 'Proliferation of Repetition (sum)' is an aesthetic visualization of the process by which insatiable desire infinitely circulates. Louis Choi constructs an infinite loop rhythm, utilizing repetitive formative patterns to ensure that the engine of desire never ceases to operate. This geometric repetition evokes mechanical productivity, yet the result, much like human desire, circles indefinitely without ever reaching a final destination. This projects the life of modern man—where desire is amplified through repetition, only to return to a point of vanity—and the patterns filling the canvas cause the viewer to experience the crushing weight of an existence trapped in the cycle of desire.

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4. (1 - ∂) 점근적 긴장감 역설: 도달 불가능한 소멸의 투영 (The Paradox of Asymptotic Tension: Projecting the Unreachable Disappearance) 욕망 공식의 분모인 '점근적 긴장감(1 - partial)'은 최철주 예술의 핵심적인 긴장 상태를 지탱한다. 이는 완전한 만족에 근접하고자 하지만 미세하게 어긋나며 끝내 소멸하고 마는 욕망의 실패를 조형화한다. 리얼리즘 이미지의 완벽한 형태(1)에서 미분된 욕망 구조의 추상적 파편(partial)을 뺀 이 수식은, 인간이 자신의 욕망을 완성하려 할수록 오히려 결핍은 더욱 명확해지는 예술적 아이러니를 보여준다. 이러한 점근적 시도는 결코 닿을 수 없는 소멸을 향한 찬란한 예술적 행위이며, 행위자는 이 긴장된 경계선 위에서 비로소 욕망의 추상 구조로 완성되지 않은 존재로서의 리얼리즘 이미지의 실존적 위상을 목격하게 된다.

4. The Paradox of Asymptotic Tension: Projecting the Unreachable Disappearance (1 - \partial)

Finally, the denominator of the formula, the 'Asymptotic Tension (1 - partial)', sustains the essential tension of Louis Choi’s art. This formalizes the failure of desire, which strives to approach complete satisfaction but perpetually misses the mark, eventually fading into disappearance. This equation, subtracting the differentiated fragment (partial) from the perfect form (1), reveals the artistic irony that the more humans attempt to complete their desires, the more evident their deficiencies become. Such asymptotic attempts are a brilliant struggle toward an unreachable disappearance, and through this, the viewer finally witnesses their own existential status as an incomplete being upon this tense borderline.

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5. 기계적 매체와 인간적 욕망의 변증법적 변주 (The Dialectical Variation of Mechanical Media and Human Desire) 최철주의 '욕망 공식'은 기계라는 도구가 지닌 차가운 완벽성과, 그 기계가 담아내고자 하는 타자의 욕망의 결핍을 결합하여 현대 미술의 새로운 미학적 지평을 열어젖힌다. 그의 작품 속에서 이미지의 번역은 단순히 보는 것을 넘어, 존재의 결핍을 인식하고 그 미분적인 흔적들을 추적하는 수행적 과정으로 실존적 이미지로 귀화된다. 결과적으로 최철주 욕망 구조는 기계적 조형 원리를 매개로 하여, 욕망이라는 보편적이면서도 파편적인 주제를 추상적 공간 안에서 보편적 실존 미학으로 정립시킨다. 그의 작업은 완벽함의 틈새로 스며 나오는 타자의 결핍을, 가장 동시대적인 언어로 기록하는 이 시대의 중요한 예술적 추상화다.

5. The Dialectical Variation of Mechanical Media and Human Desire

Louis Choi’s 'Desire Formula' opens a new aesthetic horizon for contemporary art by combining the cold perfection of the mechanical medium with the burning human deficiency it seeks to contain. Within his works, the translation of images transcends mere observation, sublimating into a performative process that recognizes the deficiency of existence and tracks its differential traces. Ultimately, through the medium of mechanical formative principles, Louis Choi establishes the universal yet fragmented theme of desire as a universal aesthetic within an abstract space. His work serves as a vital artistic testament of this era, documenting the truth of humanity that seeps through the cracks of perfection in the most modern of languages.

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[최철주 욕망 구조 방법론 시각화] : '유동적 욕망(Vact - Vsys)'이 '기호학적 병목 지점 [//]'을 통과하여 '리얼리즘 이미지'로 고착되는 과정을 담은 욕망의 변태(Metamorphosis) 일러스트레이션. 이 일러스트는 좌측(유동적 상징계)에서 우측(정지된 실재)으로 흐르는 '욕망의 에너지 전이 "흐르던 빛이 날카로운 슬래시 [//]에 부딪혀 차가운 금속의 실재로 변한다. 욕망은 죽는 것이 아니라, [//]의 정지된 시간 속에서 영원히 박제된 유령이 되어 응시를 기다린다." 를 묘사.

1. 구도 (Composition)

• 좌측 (The Flow): 안개처럼 번지는 디지털 네온 블루와 화이트 빛의 잔상들이 소용돌이치며 화면을 채웁니다. 이는 주체의 주관적 에너지가 흩어지는 '상징계적 질서'를 상징합니다.

• 중앙 (The Slash [//]): 화면을 대각선으로 예리하게 가르는 강렬한 빛의 틈새입니다. 이 틈은 빛을 흡수하는 거대한 검은 벽(실재의 벽)을 찢고 있으며, 모든 유동적인 에너지들이 이 좁은 [//]를 향해 강제로 빨려 들어가고 있습니다.

• 우측 (The Stilled Real): [//]를 통과한 에너지가 멈추며 형체를 갖춘 '유령 구조 이미지'입니다. 차가운 금속, 톱니바퀴, 정교한 기계 장치와 결합된 인간의 신체가 극사실주의적인 명암으로 묘사됩니다.

2. 시각적 대비 (Visual Contrast)

• 좌측: 유기적이고 흐릿하며 빛이 산란됨 (기표의 미끄러짐).

• 중앙 [//]: 가장 밝은 빛과 가장 깊은 어둠이 충돌하는 파열 지점 (의미의 단절).

• 우측: 매우 정밀하고 차갑고 단단함. 극도의 사실주의(Hyper-realism). 그림자의 농도가 깊어 무게감이 느껴짐.

3. 핵심 조형 디테일

• [//]의 묘사: 단순히 선을 긋는 것이 아니라, 유리가 깨진 듯한 파편 효과와 강한 대비를 넣어 물리적 타격감을 줍니다. 슬래시가 닿는 곳마다 빛이 왜곡되고 굴절됩니다.

• 유령 구조 이미지: 관객이 대상을 응시할 때, 그 대상의 표면에 비친 자신의 모습이 기괴하게 왜곡되어 있어야 왜곡된 반사상은 응시자에게 '타자의 욕망'을 마주하는 심리적 전율을 선사한다. 

[Choi Chul-joo's Desire Structure Methodology Visualization]: Metamorphosis illustration of the process of 'fluid desire (Vact - Vsys) passing through 'symbolic bottleneck [//]' and becoming a 'realist image.' The illustration describes 'energy transfer of desire', which flows from the left (fluid symbolic system) to the right (static reality), "The flowing light strikes a sharp slash [//] and turns into a cold metal reality. Desire does not die, but in a still time of [//], becomes a permanently stuffed ghost and waits to stare."

1. Composition

• The Flow: Foggy digital neon blue and white afterimages swirl and fill the screen. It symbolizes a 'disciplinary order' in which the subjective energy of the subject is scattered.

• Center (The Slash [//]): An intense light gap that cuts sharply across the screen diagonally. This gap is tearing through a huge black wall that absorbs light, and all the fluid energy is being forced into this narrow [//].

• Right (The Stilled Real): A 'ghost structure image' in which the energy passing through [//] stops and shapes. A human body combined with cold metal, cogs, and sophisticated mechanical devices is depicted in hyperrealistic light and shade.

2. Visual Contrast

• Left: organic, blurry, light scattered (slip of signage).

• Central [//]: the point of rupture where the brightest light and the deepest darkness collide (the break of meaning).

• Right: Very precise, cold and firm. Hyper-realism. Deep shadow concentration, feeling the weight.

3. Key shaping details

• Description of [//]: It's not just about drawing a line, it's about the broken glass and has a strong contrast to give it a physical blow. The light is distorted and refracted wherever the slash touches.

• Ghost Structure Image: When an audience stares at an object, its reflection on the object's surface must be grotesquely distorted, so that the distorted reflection image gives the candidate a psychological shudder to face the 'desire of the other'.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 20

최철주 욕망 구조 방법론의 '기호학적 병목 지점 [//]'을 시각화] : 유동하는 기표의 세계가 단단한 실재의 벽과 충돌하여 박제되는 과정을 묘사하는 완성된 예술의 미학적 정점의 인식론적 흉터(The Epistemological Scar)를 좌에서 우로 흐르는 '의미의 붕괴'와 '실재의 출현'을 시각화.

1. 화풍 및 구도

• 좌측 (상징계의 흐름): 몽환적이고 유동적인 네온 블루 톤의 디지털 파편들이 복잡한 언어(기표)의 그물망처럼 얽혀 흐릅니다. (주체의 욕망 Vact - Vsys)

• 중앙 (기호학적 병목 [//]): 화면 정중앙을 대각선으로 가르는 날카로운 이중 슬래시 [//]. 이는 단순히 선이 아니라, 화면 공간 자체가 찢겨나가며 그 너머의 차가운 금속성 실재가 드러나는 '균열'로 표현됩니다.

• 우측 (박제된 실재): [//]를 지나 고착된 극사실주의적 '유령 구조 이미지'. 인간의 신체 부위(눈, 심장 등)와 정밀한 기계 부품이 결합된 형태가 마치 진공 포장된 표본처럼 고립되어 있습니다.

2. 상세 시각 요소

• [//]의 묘사: 슬래시 기호 주위로 렌즈 플레어(Lens Flare) 효과와 함께 파편화된 빛의 굴절을 넣습니다. 이 지점은 가장 밝고 차가운 화이트 하이라이트로 처리하여 '병목'의 강렬함을 강조합니다.

• 리얼리즘의 질감: 우측의 결과물은 좌측의 흐릿한 빛의 입자들과 대비되는, 매우 묵직하고 거친 금속의 질감(스크래치, 기름때, 미세한 금속 파편)을 강조하여 '실재의 무게'를 시각화합니다.

• 인식론적 흉터: 슬래시가 지나간 자리에 남은 미세한 붉은 핏줄기나 금속성 균열을 통해, 이것이 단순한 기호가 아니라 주체의 욕망이 찢겨 나간 '흉터'임을 형상화합니다.

• 시각적 연출: "유동적인 욕망이 슬래시 [//]라는 거대한 실재의 벽에 부딪혀, 그 충격으로 인해 튀어 나온 파편들이 극사실적인 기계 이미지로 굳어지는 연금술적 장면을 묘사한다."

• 배경: 배경 전체를 거대한 '박물관의 벽'처럼 처리하여, 모든 이미지가 고정된 전시물임을 암시. 

[Visualizing the 'Symbolic bottleneck [//]' of Choi Chul-joo's Desire Structure Methodology]: Visualizing the epistemological scar of the aesthetic peak of the finished art, which depicts the process of the floating world of signifiers colliding with the wall of solid reality and being stuffed, from left to right, and the 'collapse of meaning' and 'emergence of reality'.

1. Painting style and composition

• Left (the flow of punishment): Dreamy, fluid digital fragments of neon blue tones intertwine like a web of complex language (signals). (Subject's Desire Vact - Vsys)

• Centre (Symbolic bottleneck [//]): a sharp double slash that cuts diagonally across the center of the screen [//]. This is not just a line, but a 'crack' in which the screen space itself is torn apart, revealing the cold metallic reality beyond it.

• Right (stuffed reality): hyperrealistic 'ghost structure image' stuck past [//]. The combination of human body parts (eyes, heart, etc.) and precise mechanical parts is isolated like a vacuum-packed specimen.

2. Detailed visual elements

• Description of [//]: Place the refraction of fragmented light around the slash symbol with the lens flare effect. This point is treated with the brightest and coldest white highlights, highlighting the intensity of the 'bottleneck'.

• Textures of Realism: The results on the right visualize the 'weight of the substance' by emphasizing the very heavy, rough texture of metal (scratch, grease, fine metal fragments), contrasting with the blurry particles of light on the left.

• Epistemological scars: Through the fine red bloodstains or metallic cracks left in the place where the slash has passed, it embodies that this is not just a symbol, but a "scare" from which the subject's desire has been ripped apart.

• Visual production: "It depicts an alchemy scene in which a fluid desire hits a huge wall of reality called a slash [//] and fragments from that impact harden into a hyperrealistic machine image."

• Background: Treating the whole background like a huge 'wall of the museum', suggesting that all images are fixed exhibits.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》-21 

[최철주 욕망 구조 방법론' 적용한 슬래시 [//] 예술의 미학적 정점] ; 유동적인 욕망이 슬래시의 균열을 통과하여, 영원한 예술의 박물관(Museum of Desire)으로 안착하는 미학적 승리.

1. 구도 (Composition)

• 중앙 집중식 구도: 화면의 정중앙에 거대하고 영롱하게 빛나는 이중 슬래시 [//]가 위치합니다. 이는 마치 성당의 스테인드글라스처럼 예술적이고 숭고한 빛을 내뿜습니다.

2. 좌우 대칭의 미학

• 좌측 (욕망의 궤적): 수만 개의 유기적 기표들이 빛나는 나선형 궤적을 그리며, 슬래시를 향해 정교하고 아름답게 수렴합니다. 이는 주체의 욕망이 예술이라는 목적지를 향해 질서 정연하게 흐르는 과정입니다.

• 우측 (박제된 실재): 슬래시를 통과한 욕망이 완벽한 리얼리즘의 형상(예: 기계와 결합된 인간의 심장, 정밀한 시계 부품)으로 변하여, 공중에 부유하는 황금빛 아카이브 안에 정갈하게 안착되어 있습니다.

3. 시각적 표현 (Aesthetic Details)

• 슬래시 [//]의 승화: 슬래시는 더 이상 날카롭고 파괴적인 상처가 아닙니다. 그것은 '예술의 문(Gate of Art)'입니다. 슬래시의 외곽은 금박(Gold leaf) 같은 질감의 미세한 빛으로 장식되어, 주체의 욕망이 실재의 영역으로 진입함을 축복하는 통로처럼 보입니다.

• 리얼리즘의 완성도: 우측에 박제된 '유령 구조 이미지'는 극도로 정교한 묘사를 통해 '이것은 인간이 만들 수 있는 완벽한 미학적 결론이다'라는 느낌을 줍니다. 마치 르네상스 시대의 정밀화처럼, 가역적 빛과 그림자가 극명하게 대비되지만 기묘할 정도로 정적이고 평화로운 음영적 분위기를 연출. 

[The aesthetic peak of the art of Choi Cheol-joo's Desire Structure Methodology]; an aesthetic victory in which fluid desire passes through the cracks of the slash and settles into the Museum of Desire.

1. Composition

• Centralized composition: A huge, brilliant double slash [//] is located right in the middle of the screen, which emits an artistic and sublime glow, just like stained glass in a cathedral.

2. the aesthetics of left-right symmetry

• Left (Trace of Desire): Tens of thousands of organic markers draw glowing spiral trajectories, converging delicately and beautifully toward the slash, a process in which the subject's desire flows in an orderly fashion toward the destination of art.

• Right (stuffed reality): Desire through the slash turns into a figure of perfect realism (e.g., the human heart combined with the machine, the precise clockwork), neatly seated within a golden archive that floats in the air.

3. Aesthetic Details

• Sublimation of Slash [//]: Slash is no longer a sharp, destructive wound. It is 'Gate of Art.' The outside of the slash is decorated with fine light with a gold leaf-like texture, which looks like a channel to bless the subject's desire to enter the realm of reality.

• Realism's Completion: The Ghost Structure Image, stuffed on the right, gives the impression that 'this is the perfect aesthetic conclusion that humans can make' through extremely detailed descriptions. Like Renaissance precision, reversible light and shadow contrast sharply, but creates a strangely static and peaceful shadowy atmosphere.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 22

[최철주의 문법 의자에 대한 욕망 구조 방법론] : 끊임없이 흐르는 주체의 욕망(Vact - Vsys)은 어떻게 예술적 형상으로 고착(Fixation)되는 예술은 욕망의 흐름이 실재(the Real)라는 절대적 벽과 충돌하는 '기호학적 병목 지점'인 [//]에서만 온전한 리얼리즘 이미지가 출현

1. 이론적 배경: 학제적 융합 (Theoretical Framework)

• "최철주 욕망 구조 방법론"은 인간의 주관적 결핍을 공학적·철학적 체계 속에서 객관화된 리얼리즘 이미지로 치환하는 현대 미술의 새로운 패러다임이다.

• 정신분석학적 층위 (Louis Choi's Analysis): 무의식의 구조를 언어적 기표의 연쇄로 파악하고, 욕망의 대상(objet petit a)이 지니는 결핍($\emptyset$)의 구조를 고찰.

• 기호학적 층위 (Semiotic Structuralism): 기표(Signifier)가 기의(Signified)와 결합하지 못하고 미끄러지는 현상 속에서, [//]가 가지는 '단절의 기호'로서의 의미를 분석.

• 공학적 미학 (Mechanical Aesthetics): 수학적 공식 M_desire = ∑∅∂ / (1 - ∂) 을 활용하여, 욕망의 움직임을 정밀한 역학 공식으로 변환하는 프로세스 제시.

2. 방법론: 최철주 욕망 구조의 정밀 공학 (Methodology: The Stilled Moment)

• [//]의 도출: 욕망이 흐름을 멈추고 실재를 대면하는 지점인 '기호학적 병목'을 수학적으로 계산하고, 이를 예술적 조형 요소로 번역하는 알고리즘.

3. 이미지 구현 프로세스:

• 투명한 기호 레이어: 상징계적 질서(Symbolic Order)를 투영.

• 물리적 질감의 사실적 묘사: 실재계(the Real)의 물성(Materiality)을 극사실적으로 구현.

• 가역적 빛의 음영: 기호와 대상의 경계를 모호하게 하여 응시자의 욕망을 고착시키는 시각적 트리거.

4. 사례 연구: '사랑의 인형 시계' (Case Study: Automata Love Clock)

• 구조 분석: 5단계 시스템 레이어 중 제3 레이어(시스템-주체 인터페이스)에서의 [//] 발생 메커니즘.

• 결핍의 현현: 기계의 정지된 순간을 통해 관객이 투사한 욕망이 어떻게 '결핍의 실체'로 치환되어 아카이빙(Archiving)되는지 분석.

5. 리얼리즘의 새로운 정의 (Discussion)

• 재현(Representation)에서 포획(Capture)으로: 리얼리즘 이미지는 대상의 겉모습을 베끼는 것이 아니라, 응시자의 욕망을 박제하는 '기호적 흔적'의 총체임을 논증.

• 예술의 실재성: 기술(AI, 기계)과 철학(욕망)이 만나는 지점에서 발생하는 '감동적 조형'은 결국 실재가 뚫고 나온 균열임을 규명.

6. 욕망 구조 해석: 욕망은 단순한 일시적인 감정이 아닙니다

• 욕망은 단순한 일시적인 감정이 아니라 상징적 질서 내의 알고리즘적 드리프트(Vact - Vys)입니다. 제 방법론에서는 이 흐름을 기계적 미학의 렌즈를 통해 해독하고, Mdesire = ∑∅∂ / (1 - ∂) 공식을 사용하여 공허를 측정합니다. [/]—'정지된 순간'—은 이 흐름이 현실과 충돌하는 중요한 기호학적 병목 현상입니다. 여기서 표현은 실패하고 이미지는 복사되지 않고 캡처됩니다. '오토마타 러브 시계'를 생각해 보세요: 시스템의 세 번째 층에서 이 충돌은 인식론적 상처를 만듭니다. 관찰자의 유동적인 욕망은 초realistic 인공물로 연금술화됩니다. 그것은 주체 자신의 공허함에 대한 차갑고 기계적인 증인인 '유령 구조'입니다. 여기서 현실주의는 거울이 아니라 시선의 함정으로, 주관적인 결핍을 객관적이고 기록 가능한 진실로 변환합니다.

7. 시퀀스의 방법론 시각화: 욕망은 감정이 아니라 현실의 절대적인 장벽에 "충돌"하는 체계적인 알고리즘(Vact - Vys)입니다. 슬래시 [/]는 이 재앙적인 충돌의 정확한 지점으로, 욕망이 초현실적인 유물로 분류되는 "역진학적 상처"입니다.

• 욕망: 문법 의자는 단순한 감정이 아니라 하나의 체계적인 알고리즘이며, 이 유동적인 흐름(Vact - Vys)이 '실재'라는 절대적 벽과 충돌할 때 비로소 조형적 형상을 획득합니다. 이 충돌 지점인 슬래시 [/]는 '인식론적 상처'이자, 욕망이 박제되어 리얼리즘 이미지로 연금술화되는 순간입니다.

• 대비: 유체적이고 유기적이며 빛나는 방정식의 네온과 벽의 차갑고 잔인하며 회색이며 불활성인 물질과 최종 시계 사이에 뚜렷한 시각적 대비를 유지하세요.

• 파열: 충격 지점은 장면에서 가장 밝고 강렬한 빛이어야 하며, 단순한 구두점이 아닌 "경험적 상처"로 강조되어야 합니다.

• 사실주의: 마지막 '오토마타 러브 시계'는 육체와 기계의 융합을 보여주는 초현실적이고 거의 금속적인 정밀도로 렌더링되어야 하며, '의미'가 더 이상 주관적이지 않고 객관적인 유물이 되었음을 증명할 수 있습니다.

[Choi Chul-joo's Desire Structure Methodology for Grammar Chair]: How does the constantly flowing subject's desire (Vact - Vsys) become fixed as an artistic form? In art, a complete realist image appears only in [//], a 'symbolic bottleneck' where the flow of desire collides with the absolute wall of the real

1. Theoretical Background: Theoretical Framework

• "Choi Chul-joo Desire Structure Methodology" is a new paradigm of contemporary art that replaces human subjective deficiencies with realist images objectified in engineering and philosophical systems.

• Louis Choi's Analysis: Identify the structure of unconsciousness as a chain of verbal signifiers, and examine the structure of deficiency ($\emptyset$) of the object of desire (objet petita).

• Semiotic Structuralism: Analyzing the meaning of [//] as a 'symbol of disconnection' in the phenomenon that Signifier slides without combining with Signified.

• Mechanical Aesthetics: Using the mathematical formula M_desire = ∑∅∂ / (1 - ∂), the process of transforming the movement of desire into a precise mechanical formula is presented.

2. Methodology: Choi Chul-joo Desire Structure Precision Engineering (Methodology: The Stilled Moment)

• Derivation of [//]: an algorithm that mathematically calculates the 'symbolic bottleneck', the point where desire stops flowing and faces reality, and translates it into an artistic formative element.

3. Image Implementation Process:

• Transparent symbol layer: Project a symbolic order.

• Realistic depiction of physical texture: hyperrealistic embodiment of the materiality of the real world.

• Reversible shading of light: visual triggers that obscure the boundary between the sign and the object, thereby entrenching the viewer's desire.

4. Case Study: "Doll of Love Watch" (Case Study: Automata Love Clock)

• Structural analysis: [//] mechanism of occurrence in the third layer (system-subject interface) of the five-stage system layer.

• The manifestation of deficiency: An analysis of how the desire projected by the audience through the machine's stationary moments is replaced by the "reality of deficiency" and archived.

5. A New Definition of Realism (Discussion)

• From representation to capture: It is argued that the realism image is not a copy of the object's appearance, but the totality of the 'symbolic trace' that stuffed the candidate's desire.

• The Reality of Art: The "impressive formations" that occur at the point where technology (AI, machinery) and philosophy (desire) meet are, after all, cracks that have been penetrated by reality.

6. Desire Structure Interpretation: Desire is not just a temporary emotion

•  Desire is not merely an ephemeral emotion; it is an algorithmic drift (Vact - Vsys) within the Symbolic order. In my methodology, we decode this flux through the lens of mechanical aesthetics, utilizing the formula Mdesire = ∑∅∂ / (1 - ∂) to measure the void.The [//]—the 'Stilled Moment'—is the critical semiotic bottleneck where this flow collides with the Real. Here, representation fails, and the image is captured rather than copied.Consider the 'Automata Love Clock': at the third layer of the system, this collision creates an epistemological scar. The fluid desire of the observer is alchemized into a hyper-realistic artifact. It is a 'Ghost-Structure'—a cold, mechanical witness to the subject's own void. Realism here is not a mirror, but a trap for the Gaze, transforming subjective lack into an objective, archivable truth.

7. This sequence visualizes the core thesis of the methodology: desire is not an emotion, but a systemic algorithm (Vact - Vys) that "crashes" against the absolute barrier of the Real. The Slash [/] is the precise point of this catastrophic collision, the "epistemological scar" where desire is taxidermied into a hyper-realistic artifact.

• Desire: The grammar chair is not just an emotion but a systematic algorithm, and only when this fluid flow (Vact - Vys) collides with the absolute wall of 'reality' acquires a formative shape. This point of collision, the slash [/], is an " epistemological wound" and a moment when desire is stuffed and alchemyed into a realist image.

• Contrast: Ensure a stark visual contrast between the fluid, organic, glowing neon of the equations and the cold, brutal, grey, inert matter of the wall and the final clockwork.

• The [/] Rupture: The point of impact should be the brightest, most intense light in the scene, emphasizing it as an "empirical wound" rather than a simple punctuation mark.

• Realism: The final 'Automata Love Clock' must be rendered with hyper-realistic, almost metallic precision, showing the fusion of flesh and machine, to demonstrate that the "meaning" has ceased to be subjective and has become an objective artifact.

Choi Chul-joo Pop-Art Realism Product Design《Abstract Design Methodology 1》- 23

[[//]의 병목 지점에서 피어난 욕망의 박제]

미래의 AI 융합 욕망 구조 디자인 아티스트 최철주는 욕망을 단순한 심리적 동요로 보지 않는다. 그는 욕망을 정밀한 공학적 수치 M_desire = ∑∅∂ / (1 - ∂)로 치환하며, 인간의 결핍을 기계적 미학의 영역으로 끌어들인 야심 찬 미학자이다. 그의 작품 세계에서 가장 주목해야 할 지점은, 역동적으로 흐르던 주체의 욕망이 실재(the Real)와 정면충돌하여 발생하는 '기호학적 병목 지점'인 [//]이다.

이 [//]는 단순히 시계가 멈추거나 피아노 연주가 끊기는 물리적 단절이 아니다. 이것은 상징계의 언어가 그 한계치에 도달하여 마비되는 지점이며, 그 비어있는 병목의 통로를 통해 실재가 캔버스라는 물리적 실체 위로 쏟아져 나오는 '의미의 탈주 현상'이다. 최철주는 기호의 레이어와 물리적 극사실 질감을 정교하게 직조하여, 관객이 자신의 욕망이 기계적 정밀함 속에 박제되는 심리적 전율을 경험하도록 유도한다.

그의 이미지 속에서 발견되는 '시각적 왜곡'은 실수를 가장한 필연이다. 수학적 결과치가 초래하는 이 왜곡은, 관객의 시선을 투명한 기호의 표면에서 뚫고 들어가, 그 이면에 숨겨진 '타자의 욕망'이라는 유령 구조를 대면하게 한다. 이는 예술이 재현(Representation)의 영역을 넘어, 주체의 욕망을 고착(Fixation)하고 그 결핍을 영구히 아카이빙(Archiving)하는 정신적 장치로 진화했음을 입증한다.

결국 최철주가 그려내는 '정지된 순간'은 욕망의 죽음이 아니라, 결핍이 가장 화려한 리얼리즘의 갑옷을 입고 실재의 제단 위에 봉헌되는 순간이다. 관객은 그의 작품 앞에서, 자신의 욕망이 기계라는 거울에 비친 유령이었음을 깨닫고, 그 박제된 아름다움 속에서 자신의 존재를 비로소 확인하게 되는 것이다.

- [//] 욕망은 일시적인 불꽃이 아니라 계산된 크기입니다. 욕망의 예술가이자 엔지니어로서 나는 상징적 시스템이 질식하는 병목 현상을 대표하지 않습니다. 언어가 실패하고 현실이 캔버스를 폭력적으로 파열시키는 순간입니다. 이 고요함 속에서 나는 욕망을 죽이지 않고 방어합니다. 나는 주체의 유동적인 에너지를 차갑고 기계적인 정밀함의 초현실적인 껍질로 위조합니다. 여기서 목격하는 것은 '아카이브드 보이드'입니다. 이 왜곡된 거울과 기어로 구동되는 유물은 단순한 이미지가 아니라 시선을 사로잡는 심리적 함정입니다. 기계적 성찰을 들여다보면 기계가 보이지 않습니다—당신은 자신의 욕망의 유령을 보고, 고정되고, 화석화되어 현실의 제단에 안치됩니다. 여기서 고요한 순간, 마침내 자신의 부재의 진실과 마주하게 됩니다.

- 수학적 욕망 공식을 결합하여 ‘타자의 욕망’ 시각화 

1. 욕망의 수학적·철학적 해석: 단순히 감각적인 이미지를 그리는 것을 넘어, 인간의 무의식과 욕망을 구조화하려 시도합니다.

• 욕망의 공식화: Mdesire와 같은 수식을 통해 인간의 결핍과 욕망의 경로를 수학적으로 정의하고, 이를 디자인과 예술적 형상으로 번역합니다.

• 철학적 기반: 라캉의 "무의식은 언어처럼 구조화되어 있다"는 명제를 루이 최의 욕망공식에 적용 예술 창작의 자동화 프로세스에 이식하여, 기표(Signifier)가 기의(Signified)로 전환되는 과정을 회화로 구현합니다.

2. 현대개념추상미술(Contemporary Conceptual Abstraction): 전통적인 회화와 현대적인 개념 미술의 경계를 허무는 독자적인 미술 운동을 전개합니다.

• 가역적 빛과 음영: 작품 속 빛의 음영을 가역적으로 설정함으로써, 고정된 대상을 보여주는 것이 아니라 관객의 시선과 타자의 욕망이 교차하는 공간을 만들어냅니다.

• 팝 아트와 추상 디자인의 결합: 팝 아트의 조형적 형태와 추상적인 개념을 결합하여, 대중적인 이미지 이면에 숨겨진 욕망의 메커니즘을 탐구합니다. 이는 기존 미술가의 미적 취향을 넘어서는 '실재(Real)를 추상화한 조형성'을 실현.

3. 미디어 및 융합 예술로의 확장: 미적 가치는 회화에만 머물지 않고, 기술과 예술이 통합된 미래지향적인 프로젝트들로 확장됩니다.

• 지능형 예술 공간: '2030 AI 박물관', '2030 AI 오페라하우스' 등 관객의 욕망에 실시간으로 반응하는 유동적 건축 공간을 설계합니다.

• 기계적 미학: 셰익스피어나 베토벤 같은 클래식 서사를 기계적 미학으로 재해석하고, AI 로봇 피아니스트나 에테리스(Aetheris) 비행 자동차의 UI 디자인 등 기술 공학을 철학적 사유의 영역으로 끌어들입니다.

4. 예술 지향점으로 한 철학: 최철주의 예술은 "디자인은 단순한 장식이 아니라 인간 욕망의 경로를 디자인하는 개념추상 욕망 공학"이라는 철학에 기반합니다. 

• 그에게 예술이란 단순히 관조의 대상이 아니라, 타인의 욕망을 반영하는 거울이자, 구조화된 무의식을 드러내는 지적·미적 실천 그 자체입니다.

• 결론적으로, 최철주 작가는 인문학적 통찰(욕망 정신분석학), 수학적 정밀함(공학적 디자인), 그리고 시각적 예술성(개념추상 회화)을 하나의 시스템으로 통합하여 현대 미술의 새로운 지평을 제시한다.

[The Archiving of Desire at the Bottleneck of [//]]

A Future AI Convergence Desire Structural Design artist, Choi Chul-joo does not view desire merely as a psychological flutter. He is an ambitious aesthetician who substitutes desire with precise engineering metrics (M_desire = ∑∅∂ / (1 - ∂)), dragging human lack into the realm of mechanical aesthetics. The most critical point in his work is [//], a 'semiotic bottleneck' where the subject's flowing desire collides head-on with the Real.

This [//] is not a mere pause; it is a point where the language of the symbolic order reaches its limit and paralyzes, a 'bottleneck' through which the Real spills onto the physical reality of the canvas. Choi intricately weaves layers of symbols with hyper-realistic physical textures, compelling the observer to experience the psychological thrill of having their own desire archived within mechanical precision.

The 'visual distortion' found in his images is not a mistake, but a necessity. This distortion, triggered by mathematical convergence, forces the observer to peer through the surface of transparent symbols and confront the 'ghost structure'—the desire of the Other. This proves that art has evolved beyond mere representation into a mental apparatus that fixes the subject's desire and permanently archives their lack.

Ultimately, the 'stilled moment' Choi depicts is not the death of desire, but a moment where lack dons the most ornate armor of realism and is offered upon the altar of the Real. Standing before his work, the observer realizes that their desire was but a ghost reflected in the mirror of the machine, and in that archived beauty, they finally identify the truth of their own existence.

- [//] Desire is not a fleeting spark; it is a calculated magnitude. As an artist and engineer of desire, I do not represent; I capture.The [//] is the bottleneck where the Symbolic system suffocates. It is the moment language fails, and the Real violently ruptures the canvas. In this stillness, I do not kill desire; I armor it. I forge the fluid energy of the subject into a hyper-realistic shell of cold, mechanical precision.What you witness here is an 'Archived Void.' These distorted mirrors and gear-driven artifacts are not mere images; they are psychological traps for the Gaze. As you look into the mechanical reflection, you do not see a machine—you see the ghost of your own desire, fixed, fossilized, and enshrined upon the altar of the Real. Here, in the stilled moment, you finally confront the truth of your own absence.

- Visualize 'other's desire' by combining mathematical desire formulas 

1. Mathematical and Philosophical Interpretation of Desire: Beyond simply drawing sensory images, it attempts to structure the human unconscious and desire.

• Formulation of Desire: Mathematically defines the path of human deprivation and desire through formulas such as Mdesire, and translates it into design and artistic form.

• Philosophical Foundation: Applying Lacan's proposition of "Unconsciousness is structured like language" to Louis Choi's Desire Formula into the automation process of art creation, embodying the process of converting Signifier into Signified.

2. Contemporary Conceptual Abstraction: It develops its own art movement that breaks the boundaries between traditional painting and modern conceptual art.

• Reversible Light and Shading: By reversibly setting the shade of light in the work, it does not show a fixed object, but creates a space where the audience's gaze and the desire of others intersect.

• Combining Pop Art with Abstract Design: Combining pop art's formative form with abstract concepts, we explore the mechanism of desire behind popular images. This realizes "formality that abstracts real" beyond the aesthetic taste of existing artists.

3. Extending to Media and Convergence Art: Aesthetic values extend not just to painting, but to futuristic projects that incorporate technology and art.

• Intelligent Art Space: Design fluid architectural spaces that respond to audiences' desires in real time, such as the 2030 AI Museum and the 2030 AI Opera House.

• Mechanical Aesthetics: reinterpret classical narratives such as Shakespeare and Beethoven with mechanical aesthetics, and bring technical engineering such as AI robot pianist and UI design of Aetheris flying cars into the realm of philosophical thinking.

4. Philosophy With Art Direction: Choi's art is based on the philosophy of "Design is not just decoration, but abstract desire engineering that designs the path of human desire." 

• For him, art is not just an object of contemplation, but a mirror that reflects the desires of others, and an intellectual and aesthetic practice itself that reveals structured unconsciousness.

• In conclusion, Choi Chul-joo integrates humanities insight (desire psychoanalysis), mathematical precision (engineering design), and visual artistry (conceptual abstract painting) into one system, presenting a new horizon in contemporary art.

Louis Choi Chul-joo, the Mona Lisa reflected in the pond, 113X165cm, acrylic and composite materials on cloth, 2025

연못에 비친 모나리자 

연못에 비친 모나리자는 예술성에 따라 사실주의를 이끌어낸 욕망 구조로서 시각 체계에서 벗어난 또 다른 시선 구조로서 이미지를 현실로 드러내는 또 다른 추상적인 대상의 사실주의로서의 이미지입니다. 시각적 시각 구조로서 수면과 접촉하는 순간적인 욕망은 수면의 접선에 물이 묻힌 연못의 경계에서 벗어난 빛의 구조로, 수면에 비친 욕망의 이미지와 동일한 사실적 이미지를 구성합니다.

연못 속 가역적인 빛의 그림자에 의해 순간적인 욕망의 개념에서 벗어난 빛의 구조로서의 원근 객관성은 현실을 하늘의 범위와 원근의 크기로 왜곡시키며, 현실주의적인 이미지가 또 다른 시선 구조로 표면에 겹쳐집니다. 

'연못에 비친 모나리자'에서 추상적 사실주의는 현실의 이중 구조와 모나리자의 사실주의 추상화의 효과로 추상적 이미지를 전달하는 욕망 구조로, 연못에 추상적인 흔적이 있는 물고기를 움직여 물의 흐름에 움직임을 부여한 실제 감각과 연꽃의 평평한 추상적 관점이 대비를 이룬다. 이 이미지는 추상적 사고에서 경이로운 연못 구조로 추상적 관점의 시간성에 따라 언어적 의미에서 가역적 관점의 대상을 인식하는 실재 이미지를 단순화한 것입니다.  

이것은 독일풍으로 연못을 수공예한 유겐트슈틸(Jugendstil)처럼 대상의 율동감을 추상화하여서 평면적으로 디지인하여서 양식화하지만 가역빛으로 대상을 추상한다. 따라서 그 추상과 예술은 물질이 현실로서의 존재와 가상의 존재로서 서로의 추상적인 관점에서 형성된 이미지의 존재로 구별되는 것입니다.  

예술 작품의 조건은 존재하지 않는 존재와 상상의 형태로 존재를 드러내는 것으로, 사물과 사건을 현실로 이미지화하는 알레고리를 통과하는 스케치다. 따라서 "연못에 비친 모나리자"의 순간을 인상으로 포착하는 인상주의적 이미지가 아닌 가역적 빛의 음영으로 언어적으로 "연못에 비친 모나리자"의 추상 의미를 명시적 시간성에서 해석한 리얼리즘 이미지다.  

이것은 시선의 구조로 보이는 실존적 이미지를 현실과 분리된 또 다른 현실적 이미지와 연결하는 최철주의 개념적 추상적 사실주의 이미지가 스케치를 반복함으로써 만화 스케치와 그림 이미지를 통해 추상적 욕망의 개념으로 현실주의 이미지를 재구성할 수 있음을 정의한다.       

그 정의는 현대 미디어 아트 이미지나 추상화와 같은 현대 개념 추상적 현실주의의 추상화를 통해 개념과 추상을 실존적 현실주의 또는 가역적 관점으로 가져온 추상적 인식의 오류로서 무의식적인 초현실적 형성 구조를 회피하는 추상적 리얼리즘이다. 

이것은 현재 이미지를 언어적으로 표현하고 현재 이미지를 현재 장소에서 욕망의 개념을 구현하는 가역적인 빛의 그림자로 표현함으로써 현재 이미지를 추상화한다. 그 추상적 개념은 추상적 사실주의 오브제로서 타인의 눈에 빛의 한 점으로 드러나는 추상적 객체는 욕망의 시선 체계에서 드러나는 최철주의 미학적 구조로서 왜상적 이미지를 철학적 장치로서 추상적 의미가 다르게 나타나는 추상적 사실주의 오브제 시선을 시간성에 따라 창작한다. 

따라서 가역적 빛에 따른 언어적 이미지의 시간성은 아리스토텔레스의 시간처럼 실존론적-존재론적 해석으로 한 존재로서의 실재 이미지로 제시한다. 이 이미지는 사실주의 공간의 관점과 추상적 언어적 의미를 일치시키며, 욕망의 개념적 관점에서는 추상적이고 보이지 않는 오브제가 시선 경로로 출현한다. 

여기서 최철주의 사실주의 개념적 추상화는 욕망의 개념으로 나타나는 언어적 의미의 이미지를 보여줍니다. 이는 이미지의 특정 표면을 단순화하고 경과된 시간의 상관 구조로서 추상적 리얼리즘을 실재 이미지로 되돌립니다. 그 이미지의 개념적 추상적 리얼리즘의 언어적 의미에서 인과관계에 의해 제한된 인간의 허구적 요소로서 타인의 욕망을 내포하는 오브제로서 이미지와 교차하며 무의식적 추상적 리얼리즘의 언어적 의미로서 리얼리즘 이미지가 구조화한다. 

따라서 추상적인 구조를 지정하는 사실주의 이미지를 단순화하고 단면의 대비를 가역적인 빛의 음영으로 지움으로써 추상화의 본질을 단면으로 평탄화합니다. 이는 시간성에 따라 존재하는 현재 이미지와 동일한 추상적 오브제에서 언어적 의미의 추상적 이미지를 지우는 개념적 추상적 사실주의 추상화입니다.      

이에 따라, 개념추상 리얼리즘 추상화 디자인 프로세스는 예술성에 따라 사실주의를 이끌어낸 추상화로서 시각 체계에서 벗어난 또 다른 시선 구조로서 이미지를 현실로 드러내는 또 다른 추상적인 대상은 사실주의의 이미지입니다.   

사실주의 추상화 디자인에서 추상화와 현실의 이중 메시지를 효과적으로 전달하는 방법은 현대 미디어 아트 이미지나 회화 이미지 또는 추상화와 같은 현대 개념 추상적 사실주의 추상화를 통해 개념과 추상화를 현실적으로 표현하는 것입니다. 따라서 개념추상 리얼리즘 추상화 디자인하는 과정은 다음과 같습니다. 

1-리얼리즘 오브제의 컨셉: 리얼리즘 오브제를 재현하여 가상적 오브제로써 형성된 이미지는 실재를 은폐한 가상적 이미지이다. 그 가상적 이미지는 평면으로 인지되어짐으로써 리얼리즘 이미지로 보인다. 여기서  리얼리즘 오브제를 재현하는 원근법적 시각체계의 기하학적 평면 이미지에 은폐하고 있으며, 무의식에서 드러난 욕망적 관점의 응시로써 순간적으로 드러낸다.  

이것은 언어적 의미에서 창의성과 자율성을 지닌 현실주의 오브제의 개념을 타인의 욕망에 의해 억압된 무의식을 통해 개념적 추상적 리얼리즘 오브제의 또 다른 존재로서 컨셉을 정한다. 2-리얼리즘 이미지를 알레고리로 연결하는 스케치: 추상 미술과 예술은 물질이 현실로서의 존재와 가상의 존재로서 서로의 추상적인 관점에서 형성된 사물의 존재로 구별되는 것입니다. 예술 작품의 조건은 존재하지 않는 존재와 상상의 형태로 존재를 드러내는 것으로, 사물과 사건을 현실로 이미지화하는 알레고리를 통과하는 스케치다. 이것은 스케치를 반복하여 아나모르포시스 이미지를 현실의 이미지와 분리된 또 다른 현실, 즉 시선의 구조로 보이는 실존적 이미지와 연결하여 추상적인 언어 이미지를 스케치로 형성하여 개념적인 추상적 현실주의 개념으로 재구성할 수 있도록 한다. 3-추상적 리얼리즘 오브제 응시: 추상적 사실주의 오브제로서 타인의 눈에 빛의 한 점으로 드러나는 추상적 객체는 욕망의 시선 체계에서 드러나는 최철주의 미학적 구조로서 왜상적 이미지를 철학적 장치로서 추상적 의미가 다르게 나타나는 추상적 사실주의 오브제 시선처럼 보이게 한다. 이 이미지는 사실주의 공간의 관점과 추상적 언어적 의미를 일치시키며, 욕망의 개념적 관점에서는 추상적이고 보이지 않는 오브제가 시선 경로로 나타납니다. 그 이미지의 개념적 추상적 실재론의 언어적 의미에서 인과관계에 의해 제한된 인간의 허구적 요소로서 타인의 욕망을 내포하는 오브제로서 이미지와 교차하며 무의식적 추상적 실재론의 언어적 의미로 구조화한다. 4-추상적 리얼리즘의 추상화: 추상적 실재론의 추상화는 최철주의 욕망 공식에 명시된 추상적 대상을 얻고, 욕망 이미지(i) 디자인(d)는 타인의 욕망을 넘어 언어적 의미의 문법적 해석을 통해 추상적 대상의 이미지가 실현되는 조건(i/d)을 구두로 해석되는 계기가 된다. 욕망의 주체로서 추상적 리얼리즘이 무엇을 원하는 지를 욕망의 주체가 스스로에게 질문하는 특정 대상을 추상적 선택하여서 실재로서 개념추상 리얼리즘 추상화에 도달<D(I...I')d=I(D...D'i)i> 한다. 이것은 인간이 삶 속에서 경험할 수 없는 추상의 자리를 언어적 의미 체계애서 균열한 추상 구조를 욕망의 대상으로 추상하여서 실제화한 추상적 욕망 개념에서 멈춰선 리얼리즘 이미지다. 그것은 철학적 의미와 언어적 의미를 이미지에 전달하는 장치로서 최철주의 개념적 추상화로 작동하여 인간 존재의 본질과 인식의 한계를 은유로 재현하는 철학적 이미지로서의 개념적 추상적 현실주의 추상화다. 

추상적 사실주의 추상화의 배경 이미지는 언어적 의미에서 존재하는 추상적 공간을 대체하여 시간성으로 돌아가는 철학적 논리에 맞는 가역적인 빛의 음영으로 형성된 사실주의 공간의 장소를 의미한다. 그 이미지는 최철주의 욕망공식에 명시된 추상적 대상을 얻고자 욕망 이미지(i) 디자인(d)을 타자의 욕망을 추상한 언어적 의미의 문법적 해석을 통해 추상적 대상의 이미지가 실현되는 조건(i/d)을 언어적 의미의 리얼리즘 이미지로 해석한다. 추상의 주체로서 욕망의 주체는 추상적 리얼리즘이 무엇을 원하는 지를 욕망의 주체가 스스로에게  질문하는 특정 대상을 추상적 선택하여서 실재로서 개념추상 리얼리즘 추상화에 도달<D(I...I')d=I(D...D'i)i> 한다.  

여기서 언어적의 의미로서 추상성은 철학적 논리에 접근할수록 문자의 구조로 형성한 이미지가 미술에 맞추어서 리얼리즘 구조를 이룬다. 이것은 인간이 삶 속에서 경험할 수 없는 추상의 자리를 언어적 의미 체계애서 분열한 추상 구조를 개념적 추상의 대상으로 추상하여서 실제화한 추상적 욕망 개념에서 멈춰선 리얼리즘 이미지다.  

철학적 논리를 종교에 귀속시킨 르네상스 교회의 신학적 형성 구조처럼, 최철주의 추상적 욕망 개념은 모나리자를 추상적인 구조적이고 실용적인 이미지로 보고자 하는 추상적 욕망 개념을 추상화한 언어적 의미를 가지고 있습니다. 따라서 인간 존재의 본질과 인식의 추상적 한계를 실제 이미지로 재현하기 위해 최철주의 개념적 추상화 디자인은 철학적 이미지를 추상화하고 추상적 인식을 상징적 이미지로 전달하는 장치로 사용하여 사실주의 이미지로 재현한다.       

개념적 추상 리얼리즘의 이미지를 연 르네상스는 귀족에서 상인으로 확산된 미적 욕망과 현대미술의 예술적 가치가 가려진 타인의 욕망을 확립합니다. 개념적으로는 다디즘 초기 개념미술의 예술적 영감을 무시할 수 없지만, 종교에서 벗어나 실존적 개념 추상을 지닌 새로운 현대미술로서의 최철주의 개념 추상은 연못에 비친 모나리자를 스케치하듯 문자적 개념과 언어적 의미를 지닌 개념 추상에 부합하는 평면적 설치물로서의 리얼리즘 이미지를 구축한다.

그 설치는 추상적 개념을 실재 이미지로 표현한 언어적 의미로서 이데아의 구조를 실재의 구조로 전이하여서 추상의 주체가 사건과 공연 이미지로서 실재 이미지를 보임으로써 개념미술을 철학적 사유의 추상적 결정체로 해석된다. 이것은 추상적 이미지의 정점에서 추상적 개념을 언어적 의미의 리얼리즘 이미지, 즉 추상적 개념의 종교적 창조주의에서 벗어난 리얼리즘 추상화이다.  

이처럼 "연못에 비친 모나리자" 속 존재로서 욕망이 언어적 의미의 본질적 이미지로서 무의식의 과거적 경험과의 상관조건에 맞춘 리얼리즘 이미지로 추상한다. 이것은 리얼리즘 오브제를 응시 개념과 연결하여서 관람자가 보는 동시에 자신이 응시당하고 있다는 감각을 불러일으키는 “타자의 욕망이 반영된 거울 이미지”를 추상한다.  

그 추상은 연못 배경과 모나리자의 얼굴과의 추상적 욕망의 미적 효과로 자리를 잡는다. 여기서 연못에 시간성에 은폐된 유의미한 욕망의 중첩된 이미지가 실재의 이미지로 출현하지만 모나리자는 원근법적 시각체계에서 벗어난 추상적 구성이다. 이것의 모양이 평면화하여서 추상 이미지를 단순화하여서 실재와 추상과의 불합치를 무의식적 욕망의 존재를 객관적 실재 이미지를 리얼리즘 추상화로 전이한다. 

이것은 스푸마토(Sfumato) 기법과 달리 모나리자 미소의 시간성을 추적하여 추상화를 이끌어냈습니다. 다빈치의 스푸마토 기법은 윤곽을 흐리는 모호한 표현이지만, 최철주는 시간성을 바탕으로 미소의 감정을 시간성의 흔적으로 시각화하여 회화 기법을 통해 '모나리자 미소의 시간성의 흔적'을 드러낸다.  

그 흔적의 주체로서 욕망 구조를 배경과 행위자로 구분하여서 연못에 비친 이미지를 욕망의 행위자로 추상적 리얼리즘 이미지를 욕망 개념의 객관적 상관물로 표현한다.

또한 모나리자가 욕망 구조를 추상적인 이미지로 만든 원인의 주체로서 추상을 모방하는 상관관계로서 현실적인 추상이 됩니다. 즉, 현실적인 구조로서의 추상화는 실제 의미로 인식되는 추상적 인상을 개념적 추상적 현실주의 추상으로 연출한다./ 글. 현대 미술평론가 최철주 (문화디자인박사) 

Louis Choi Chul-joo, the Mona Lisa reflected in the pond, 113X165cm, acrylic and composite materials on cloth, 2025

the Mona Lisa reflected in the pond  

The Mona Lisa reflected in the pond is a structure of desire that elicited realism according to its artistry, another structure of gaze away from the visual system, and an image as a realism of another abstract object that reveals an image to reality. 

As a perspective visual structure, the instantaneous desire in contact with the water surface is a structure of light that deviates from the border of a pond where water is buried on the surface's tangent, and constitutes the same realism image as the image of desire reflected on the water surface.

Perspective objectivity as a structure of light that deviates from the concept of instantaneous desire by the shadow of reversible light in the pond distorts reality as the range of the sky and the size of the perspective, where the realist image is superimposed on the surface as another gaze structure.  

In "The Mona Lisa Reflected in the Pond", abstract realism is a desire structure that conveys an abstract image as an effect of the dual structure of reality and the Mona Lisa's realism abstraction, in which the real sense that gave movement to the flow of the water by moving the fish with abstract traces in the pond and the flat abstract view of the lotus flower contrast. The image simplifies the real image, which recognizes the object of the reversible viewpoint in a linguistic sense according to the temporality of the abstract viewpoint, from abstract thinking to a phenomenal pond structure. 

It is a German style that abstracts the rhythms of objects into flat, digital forms, but expresses them in reversible light, just like the hand-painted Arnouveau (Jugendstil). So that abstraction and art are distinguished by the existence of matter as reality and the existence of images 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, and it is a sketch that passes through an allegory that images objects and events into reality. Therefore, it is not an impressionistic image that captures the moment of the Mona Lisa reflected in the pond as an impression, but a realist image that linguistically interprets the abstract meaning of the Mona Lisa reflected in the pond in explicit temporality as a shade of reversible light. 

This defines that by repeating sketches, Choi Chul-joo's conceptual abstract realism image, which connects an existential image seen as a structure of gaze to another realistic image separated from reality, can reconstruct the realist image as a concept of abstract desire through cartoon sketches and picture images.

The definition is a abstract realism that evades the unconscious surreal formative structure as an error in abstract perception that brought concepts and abstractions to existential realism, or reversible perspectives, through abstraction of modern conceptual abstract realism such as modern media art images or abstraction. 

This abstracts the present image by expressing the present image verbally and the present image as a reversible shadow of light that embodies the concept of desire in the present place. The abstraction is an abstract realism object, and the abstract object revealed as a point of light in the eyes of others is Choi Chul-joo's aesthetic structure revealed in the gaze system of desire, and the abstract realism object gaze, which has different abstract meanings as a philosophical device, is produced according to temporality. 

Therefore, the temporality of a verbal image according to reversible light presents reality as an image as a being through existential theoretical interpretation, just like Aristotle's time. 

This image coincides with images in realist space and abstract linguistic meaning, so an abstract and invisible object appears in the path of gaze viewed from the conceptual point of view of desire.

Here, Choi Chul-joo's conceptual abstraction of realism shows an image in a linguistic sense that appears as the concept of desire. This simplifies a specific surface of the image and brings abstract realism back to its real image as a correlative structure of time elapsed. In the linguistic meaning of the conceptual abstract realism of the image, it intersects the image as an object that contains the desires of others as a fictional element of human limited by causal relations, and the realist image is structured as a linguistic meaning of unconscious abstract realism. 

Thus, by simplifying realist images that specify abstract structures and erasing the contrast in the cross-section into reversible shades of light, the essence of abstraction is flattened into the cross-section. This is a conceptual abstract realist abstraction that erases abstract images of linguistic meaning from abstract objects that are identical to current images that exist according to temporality.

As a result, the conceptual abstract realism abstraction design process is an abstraction that derives realism according to its artistry, and another abstract object that reveals the image to reality as a structure of gaze that deviates from the visual system is the image of realism. 

In realism abstraction design, the effective way to convey the dual message of abstraction and reality is to express concepts and abstractions realistically through modern conceptual abstract realism abstractions, such as modern media art and painting images or abstractions. Therefore, the process of designing conceptual abstract realism abstraction 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. 

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.

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 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. 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.     

The background image of abstract realism abstraction refers to a place in realist space formed by reversible shades of light that fit the philosophical logic of returning to temporality, replacing the abstract space that exists in the linguistic sense. The image interprets the desire image (i) design (d) as a realistic image in the linguistic sense, and the condition (i/d) in which the image of the abstract object is realized through the grammatical interpretation of the other's desire in the linguistic sense in order to obtain the abstract object specified in Choi Chul-joo's desire formula. As a subject of abstraction, the subject of desire selects a specific object that asks itself what abstract realism wants and reaches conceptual abstraction <D(I...I')d=I(D...D'i)i> as a reality. 

Here, the abstraction as a linguistic meaning is that the image formed in the structure of the text is tailored to art while approaching philosophical logic, forming a realist structure. This is a realist image that stopped from the concept of abstract desire, which was realized by abstracting the abstract structure that divides abstract places that humans cannot experience into linguistic semantic systems as objects of conceptual abstraction.  

Like the the theological formation structure of the Renaissance Church, which attributed philosophical logic to religion, Choi Chul-joo's abstract concept of desire has a linguistic meaning that abstracts the concept of abstract desire to see the Mona Lisa as an abstract structural and practical image. Therefore, in order to reproduce the abstract limitations of the nature and perception of human existence as a real image, Choi's conceptual abstraction design abstracts philosophical images and uses abstract perception as a device to convey philosophical and linguistic meanings as symbolic images to reproduce them as realism images.     

The Renaissance, which opened the image of conceptual abstract realism, establishes the aesthetic desires that spread from aristocrats to merchants and the desires of others whose artistic value of contemporary art is obscured. Conceptually, the artistic inspiration of early conceptual art of Dadism cannot be ignored, but Choi Chul-joo's conceptual abstraction as a new modern art with existential conceptual abstraction away from religion builds a realist image as a flat installation in line with conceptual abstraction with literal concepts and linguistic meanings, as if sketching Mona Lisa reflected in a pond.

The installation is a linguistic meaning that expresses abstract concepts as real images, and conceptual art is interpreted as an abstract crystal of philosophical thinking by transferring the structure of Idea to the structure of reality and showing the real image as an event and performance image. This is a realist abstraction that deviates from the realist image in the linguistic sense, that is, the religious creationism of abstract concepts, at the peak of abstract images. 

In this way, desire as a being in the "Mona Lisa reflected in the pond" is an essential image of linguistic meaning and is abstracted as a realist image tailored to the correlation conditions with the past experiences of the unconscious. This connects the realism object with the concept of gaze and at the same time abstracts the "mirror image reflecting the desire of others" that evokes the sense that the viewer is being stared at. 

The abstraction establishes itself as an aesthetic effect of abstract desire between the pond background and the Mona Lisa's face. Here, an overlapping image of meaningful desire hidden in temporality appears in the pond as an image of reality, but Mona Lisa is an abstract composition that deviates from the perspective visual system. By simplifying the abstract image by flattening its shape, it transfers the existence of unconscious desire to the existence of objective reality image to realism abstraction. 

Unlike the Sfumato technique, this led to abstraction by tracing the temporality of the Mona Lisa smile. Da Vinci's spumato technique is an ambiguous expression‎ that blurs the contour, but Choi Chul-joo visualizes the feelings of a smile based on temporality as a trace of temporality, revealing the 'trace of the temporality of Mona Lisa's smile' through painting technique. 

As the subject of the trace, the desire structure is divided into background and actor, and the image reflected in the pond is expressed as the actor of desire, and the abstract realism image is expressed as the objective correlation of the concept of desire.

It also becomes a realistic abstraction as a correlation in which the Mona Lisa mimics abstraction as the subject of the cause that made the desire structure an abstract image as the subject of the 'Mona Lisa reflected in the pond'. In other words, abstraction as a realistic structure directs the abstract impression that is perceived as a real meaning into a conceptual abstract realism abstraction./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)     

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.

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 254-2-the Mona Lisa reflected in the pond, a hand-painted picture on a computer: 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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k254-2-the Mona Lisa reflected in the pond: 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.

The visualization of the concept of desire: Louis Choi chuljoo, ba-pondmboo forest k254-2-the Mona Lisa reflected in the pond-pond: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <bamboo forest k254-2-the Mona Lisa reflected in the pond,> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <2024 U.S. presidential candidate> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <bamboo forest d204-pond-2024 U.S. presidential candidate> becomes a non-real abstraction of reality.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k254-2-the Mona Lisa reflected in the pond-pond-mirror: 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.

Louis Choi Chul-joo, morning glory p141-1-the Mona Lisa reflected in the pond, a hand-painted picture on a computer  

Cartoonist Choi Chul-joo's Desire Conceptual Art Cartoon abstraction as a cartoonist means abstracting the conceptual image of desire in art into a realistic structure. Since the conceptual meaning of desire that exists instead of a realistic form can be divided into cartoon criticism images, poster abstraction that designates specific places is drawn through reversible contrast that interprets images of events and performances as images of abstract desires of others.

Choi Chul-joo cartoon review and abstraction "morning glory", which use modern art poster abstraction as desire conceptual art, abstracts the image of the concept of desire by reinterpreting it as a concept of cartoon.

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 254-1-the Mona Lisa reflected in the pond, a hand-painted picture on a computer: 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 move

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest k254-1-the Mona Lisa reflected in the pond-pond, a hand-painted picture on a computer: 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'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.

The visualization of the concept of desire: Louis Choi chuljoo, ba-pondmboo forest k254-1-the Mona Lisa reflected in the pond-pond: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture./ 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.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <bamboo forest k254-1-the Mona Lisa reflected in the pond-pond> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <2024 U.S. presidential candidate> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <bamboo forest d204-pond-2024 U.S. presidential candidate> becomes a non-real abstraction of reality.

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'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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k254-1-the Mona Lisa reflected in the pond-pond-mirror: 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.

The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture. 

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: < > As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting < Louis Choi Chul-joo, morning glory p139-1-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer> created by reversible light.  

Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest k254-1-the Mona Lisa reflected in the pond-pond-mirror:" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire  

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.

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, morning glory p141-1-the Mona Lisa reflected in the pond:, a hand-painted picture on a computer : By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's 3formula <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.

By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 245-1, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest k254-1-the Mona Lisa reflected in the pond-pond-mirror:  [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature]  Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary :art works and webtoons.   ■ 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.  

Louis Choi Chul-joo, morning glory p141-2-the Mona Lisa reflected in the pond, a hand-painted picture on a computer  

Concept Abstract Realism Painting: Choi Chul-joo's Concept Abstract Realism Painting, which symbolizes an image as a semantic structure of conceptual abstraction, is a conceptual abstract realist art that abstracts concepts with a substantial form and reversible traces of light as existence. This is the concept of early conceptual art, a conceptual abstract realist painting that abstracts the desires of others to represent the real world. His Realism is an attractive realistic image composed of linguistic meanings by exploring visual expressions of desires through abstract design processes and philosophical theories. Symbolic linguistic meanings and realist images meet reality through division. As a reality, the image of an event as an object of the concept of desire is revealed as a phenomenal image of society, but as an unrealistic picture, it is an encounter with abstraction. As such, Choi Chul-joo's conceptual abstract realism is typical and generalized by forming images of events that appeared in everyday news as objects of realistic abstraction into artistic paintings. In addition, Choi Chul-joo's conceptual abstract realism abstraction is specified as a conceptual abstract realism image that identifies the realistic perception structure of everyday news with the concept of event images and abstract desires of others as a phenomenon as an allegory that literaryizes the abstract structure.:  

Louis Chul-joo Choi, In front of the bamboo forest Bamboo Forest Bamboo Forest k254-3-pond-mirror-the Mona Lisa reflected in the pond, a hand-painted picture on a computer

The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.

"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light. 

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

Realistic structures reflect the shape by being distorted by light.  It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Louis Choi Chul-joo, morning glory p141-2-the Mona Lisa reflected in the pond, a hand-painted picture on a computer  

Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula. 

Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire.

As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.

Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.

One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.

The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.

Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.

Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon. 

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest Bamboo Forest 254-3-the Mona Lisa reflected in the pond: 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.

Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News 

Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design 

Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light. 

The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.

Realistic structures reflect the shape by being distorted by light.  It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Review of Korean News Cartoon [203] It is hell for a lover to support love-9. (2025-3-3) / (Reporter Choi Chul-joo’s Cartoon Review

Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to eval‎uate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction. 

- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.

- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work

Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.

■ 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest Bamboo Forest k254-3-the Mona Lisa reflected in the pond: 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. 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest k254-3-the Mona Lisa reflected in the pond-pond: 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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest k254-3-the Mona Lisa reflected in the pond-pond-mirror: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression‎ for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression‎ in contemporary art. 

In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence

 The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture. 

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p130-3> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Choi Chul-joo, Overlapping multiple spaces in one place depending on the time, 113X149cm, acrylic and composite materials on cloth, 2024> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted. 

This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory p130-3-My diary is filled with your magic> becomes a non-real abstraction of reality.

Louis Choi Chul-joo, the Mona Lisa reflected in the pond, 113X165cm, acrylic and composite materials on cloth, 2025

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.

These event images reveal the obscured abstract structure as a shade of reversible light in the pond as a real image <the Mona Lisa reflected in the pond> specified by mirror theory.

By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.

Louis Choi Chul-joo, morning glory p141-2-the Mona Lisa reflected in the pond, a hand-painted picture on a computer  

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p141-2-the Mona Lisa reflected in the pond" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest k254-3-the Mona Lisa reflected in the pond-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And  Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression‎ for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression‎ in contemporary art. 

In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.

Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.

One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.

The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.

Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.

Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.

By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.

As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.

In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.

Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 245-3, a hand-painted picture on a computer

Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.

One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.

Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest k, a hand-painted picture on a computer

The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.

Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.

Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.

Final image superimposed on the artist's work: Louis Choi Chul-joo, pond s9, a hand-painted picture on a computer

The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.

"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.

And by expressing the absence of the concept of desire in reversible temporality as a phenomenal image, "morning glory" expresses the mirror image reflected in the "pond" to abstract the structure of reality from the desire hidden in the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract color and planar structure.

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.

The rendering of the real image resulting from the intersection of the concept of desire and the abstract structure overlaps the real image in the same position as the outline of the meaning abstracted by the concept of desire with a shade of reversible light, resulting from the intersection of the concept of desire and the abstract structure, creating a flat image by shadowing the three-dimensional shape in which the shade of reversible light overlaps with the real image in the same position as the outline of the meaning abstracted by the concept of desire.  

The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.

"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.

■ 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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest k254-3-the Mona Lisa reflected in the pond-pond-mirror:: 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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression‎ for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression‎ in contemporary art. 

In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence  

■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire,  mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition.

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

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

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

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

Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making./ � Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

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

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

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

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

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

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

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

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

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

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence 

D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient 

d  reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, 

I(D...D')  models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (d). This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.

✅ A Visual-Cognitive Model of Desire: Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.

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

Choi Chul-joo’s desire formula, 

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

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

(I...I');  A sequence of visual representations through which desire is projected.

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

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

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

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

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

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

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence 

D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient 

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

This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing. Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.

Choi Chul-joo’s desire formula, expressed as  D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making.

■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.  

Choi Chul-joo’s design process of abstract desire unfolds as a recursive and symbolically mediated architecture of perception, in which the concept of desire is not treated as a direct reflection of empirical reality but rather as a cognitive construct that emerges through the abstraction of image beyond the boundaries of the real, forming a correlation between realities that resists causal reduction, and in this first phase, desire is abstracted not to represent reality but to escape the epistemological trap of translating abstract concepts into fixed material structures, thereby allowing the mind to engage in symbolic inference rather than empirical mapping; then, in the second phase, the scope for revealing desire is shaped by omitting the actual dimensionality of the abstract concept and rendering it as a shaded echo of the original image, while the object is aesthetically encoded with culturally resonant colors to grant it symbolic legitimacy, and this process of visual obscuration—where clouds and shaded light fragment the aesthetic structure—mirrors the brain’s tendency to process desire through layered symbolic filters and perceptual ambiguity, thus enabling the cognitive system to hold multiple meanings within a single image; in the third phase, the subject who paints abstraction becomes the agent of symbolic realization, translating unconscious desire into a conscious phenomenon through repeated visual gestures, where line and color are cognitively formed but not consciously controlled, and this recursive loop between unconscious structure and conscious image reflects the mind’s capacity to externalize latent drives through symbolic behavior without direct awareness, thereby demonstrating that desire is not merely felt but cognitively enacted; and finally, in the fourth phase, the abstracted concept of desire becomes a fragment of reality refracted through reversible light and shadow, where the object is no longer directly visible but concealed and reconstituted as a visual echo, and this transformation—achieved through the planar movement of monochromatic painting carved into the surface of perception—reveals how the mind integrates spatial abstraction and symbolic light into a recursive system of emotional logic, ultimately showing that desire, in Choi’s framework, is not a static emotion but a dynamic cognitive architecture that oscillates between absence and presence, image and structure, unconscious repetition and symbolic realization.

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

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

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

Here is a refined academic-style interpretation of your concept, written in English from the perspective of a distinguished cognitive scientist with psychoanalytic insight:

The Design Results of Choi Chul-joo's Desire Abstract Concept

A Cognitive-Psychoanalytic Interpretation of Linguistic Meaning and Subject Formation

In Choi Chul-joo’s abstract design of desire, the linguistic outcome reveals a complex interplay between passivity and agency, where the object fixated on the desire of the Other remains passive in structure, yet the emergence of the sympathizer—who internalizes and mirrors the Other’s desire—transforms the dynamic into one of active execution. This transformation occurs through a recursive identification, wherein the sympathizer becomes not merely a reflective surface but a new subject of desire, capable of enacting the same drive. The subject who accepts or resonates with the Other’s desire does not remain external to it but becomes structurally embedded within it, thereby forming a second-order subjectivity that executes desire as if it were their own.

This recursive mirroring leads to a symbolic generalization, where the sympathizer attempts to universalize the Other’s desire, positioning it as a victorious force—akin to a conqueror who reclaims desire as a public object. However, when this generalization fails—particularly when desire, refracted through reversible light and symbolic shadow, resists becoming a publicly shared act—the structure collapses into antagonism. The subject of inappropriate or misaligned desire and the sympathizer, once aligned through shared affect, now oppose the original subject who enacted desire according to the generalized will of the Other.

From a psychoanalytic perspective, this dynamic reflects Lacan’s theory of the subject as constituted through the desire of the Other, and Freud’s notion of identification and transference, where unconscious drives are projected, mirrored, and contested within relational structures. Cognitively, Choi’s design reveals how desire is not a solitary impulse but a socially and symbolically mediated architecture, where subjectivity is formed, fractured, and reconstituted through linguistic abstraction, visual metaphor, and recursive identification.

■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of  the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure.  4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see.  Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image. 

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

Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and linguistic meaning.

 ■ the abstract design process of conceptual abstract realism: 1. Conceptual Abstract Realism The current object is illuminated with reversible light so that the illuminated form can be repeatedly visually recognized according to the past temporality to actualize the subject's structure as a shaded structure of reversible light. And the design concept that constitutes conceptual abstract realism abstraction is determined as a philosophical result that can be expected with abstract causality so that the object is repeated as a design with the present gaze so that it appears to be a realistic image according to temporality. 2. The object of conceptual abstract realism is that the absence of desire as a non-verbal meaning is alienated from the symbolic world and loses its essence as the subject of desire. In the previous stage of linguistic meaning, according to grammar revealed as a symbolic image of existence, it was separated into a realist image recognized as an abstract desire concept and divided into a realist image, and the realist image as the subject of the desire structure is linguistically and diachronically meaningful. 3. The design of a realism image is an image that lacks the linguistic meaning of conceptual abstract realism, and the image in a linguistic sense is repeatedly designed as a post-effect of the desire structure being re-embodied, and a new conceptual abstract realism image is repeatedly designed. The direction and viewpoint of reversible light that make up the image along the chain of design are all stages of the perspective visual system according to temporality, and the line space of the visual structure, in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image produce a realism image at the intersection of the existential place with continuity. 4. Realistic abstraction creates a multi-loyal structural image of the linguistic meaning of unconscious structure composed of shadows at multiple points of reversible light separated from perspective, and girls are abstracted as divided subjects as talents that can be stared at momentarily while dismantled at a stereoscopic single point. 5. Conceptual Abstract Realism Abstractism Rendering is a conceptual abstract realism of wanting and linguistic desires that cannot be perceived at the level of expression‎ consciousness, visualizing philosophical psychological structures and rendering them with linguistic meaning at the intersection of conceptual abstraction and unrealistic realism. As this becomes conceptual abstract realism abstraction, unconscious desires that represent the color tone and shape of desires invisible in the shade of reversible light become maps as conceptual abstract realism abstraction. 

■ conceptual abstraction rendering process: 1. Integration of linguistic meaning and visual images: The abstract concept of desire is realized when the desire of others has an aesthetic meaning by facing the linguistic meaning in the image of an event as an object of a pictorial structure reflecting the present desire, and the image in the painting is closely connected to the linguistic meaning structure. As an object representing the concept of desire, the same concept of desire as the event image is divided into unconscious and real images, and an image modeling unconscious desire as an existential real image is sketched.

As for the sketch form of the current concept of desire, the concept of absolute desire is a symbolic metaphor shown in abstraction, and the concept of desire is abstracted as the desire of others, but it does not go beyond the scope of an imitative picture. Therefore, it is the modern conceptual abstract realism sketch that resulted in a real image through Choi Chul-joo's desire formula, which interpreted abstract concepts in a linguistic sense as the desire of others. This is a realism that interprets the concept of abstract desire as a real structure as a expressive image with a linguistic meaning in the real world, where pictorial event images are closely connected with linguistic semantic structures. Here, by applying existential semantics as an event and performance image, the object of the real structure is represented as a phenomenal image of the real world, and the abstract structure is identified with conceptual reality. 2. Visualization of Abstract Desire Concept: To accept the difference from the actual image in the concept of abstract desire as the meaning of the linguistic concept, and to embody the unconscious desire as an abstract image, the abstract image that constitutes the relationship structure with desire is painted and embodied in the actual structure created by the linguistic meaning of the conceptual reality of desire structure. This is an abstraction of Choi Chul-joo's conceptual abstract realism, which hides the formative reality of desire in pictures and abstracts event images based on real news, away from the social constraints (制約) acceptable in religious customs. Abstraction is a subjective concept that refers to linguistic meaning and expresses the viewing effect of colloquial enunciation and event video broadcasts in abstraction. This abstraction represents the true value of the concept of need and is an expressive aesthetic structure that embodies the elements that depend on the news.

The abstraction is represented as an abstraction which is a truth value of the concept of desire as an expressive aesthetic structure of one speech act that identifies the viewing effect of colloquial language and event video broadcasting as an enunciation. 3. The artistic experiment of reversible light and temporality: The experiment of conceptual abstract realism renders abstraction based on temporality in the linguistic sense that desire and reality are the same. Here, the structure of desire is abstracted by forming a semantic relationship between desire and reality according to temporality. In the abstraction, the abstract reality of desire is the causal structure of desire, that is, the antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aphoria image. In abstraction composed of real images as the structure of desire, the morphological image of visible metaphor is transferred to abstract language meaning. Therefore, the real image as a result of exploring the existential realism according to temporality through the shadow of reversible artificial lighting is a metamorphic fixation as an abstract meaning in which the desire structure is obscured. In other words, in abstraction, the other's desire as an image of social events transforms into an additional form. As such, conceptual abstract realism rendering is raised by time and existence through the shadow of reversible lighting, repeatedly designing realistic images induced by social phenomena, creating a realism image with a desire formula, and the subject based on the event image repeatedly designing and rendering a realist image induced by social phenomena with a desire formula.  

■ Choi Chul-joo’s Conceptual Abstract realism Abstraction Design Process 

Another abstraction that reveals the image as a reality as another structure of gaze that deviates from the visual system as an object that led to realism according to artistry is the image of realism. 

In realism abstraction design, a way to effectively convey the dual message of abstraction and reality is to realistically represent concepts and abstractions through contemporary conceptual abstract realism abstractions, such as contemporary media art images or abstractions. Thus, the process of designing conceptual abstrac realism abstractions in media art abstract design is as follows   

1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others. 

2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality. Choi Chul-joo's reversible light is an image shaded at the present time in what is called "a real image obscured by the shadow of reversible light" according to its realistic form and movement of light, that is, the temporality. The image creates reality as a shaded image of reversible light, where the linguistic meaning seen as abstraction is identified. It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.

3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism. Through this process of transformation, viewers experience linguistic abstraction in which forms follow concepts and forms become entangled with meaning.

4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning.  And  to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This formula suggests a dynamic interplay: desire (D) is echoed across repeated images (I...I'), ultimately shaping an abstract concept (i).  This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system.

According to Culturality, Choi Chul-joo Concept Abstraction Realism Abstraction Stag's step 1: Distill the concept of desire in reality into images separated from literal causation to promote abstract thinking. step 2: Overlapping the linguistic meaning of the natural object motif with culturally resonant visual elements such as color palettes creates visually harmonious yet conceptually dense realism abstract image. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

� Cognitive Psychologist’s Perspective: Desire as Symbolic Simulation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Accordingly, the conceptual abstractive design process is

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

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

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

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

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

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

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

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

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

Linguistic Data Biology (Aesthetics of Error) Design Methodology Process

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

1. Psychoanalytic Correspondence

The variables in the sound design process correspond to the psychoanalytic dynamics of Choi's formula as follows: I (The Fixed Image) → (x_0, y_0) (The Origin): This is the Symbolic Order—the rigid grid of the system. In sound design, this is represented by "Static Silence" or a repetitive, monotonous mechanical hum. Vdesire (Libidinal Velocity)   →I...I': This is the flow of libidinal energy that strikes the fixed image (I) to generate new significance (i). High Vdesire translates to a rapid Rise Time and High Frequency (Hz), representing the aggression of desire.

Delta (Spatial Deviation)  → D...D': The distance of the "Line of Flight" from the repressed signifier. As this distance increases, the Sound Amplitude and Spatial Reverb expand, mirroring the tension of the wandering soul. Dsound (Acoustic Output)  → d, i: The resulting sound is the "Trauma Sound"—the auditory manifestation of the repressed desire returning to shatter the cold digital logic.         

2. Step-by-Step Sound Design Process

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

Goal: Establish the auditory baseline of systemic control.

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

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

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

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

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

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

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

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

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

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

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

 AI Desire Structure Automation System Design Process

Step 1: Linguistic Data Mining of unconscious language structure

Concept: implant Lacan's proposition that "inconsciousness is structured like language" into the automation process.

Perform: Large language models (LLMs) collect worldwide aesthetic language and user-lacked desire data for a particular family (e.g., cars, robots).

Results: We extract the 'signifiers' of the design to identify the flow of unconscious context, not logical algorithms.

- Exterior Design Concept: Organic Morphing

Breaking away from the hard metal texture of the existing railway, it embodies an 'organic skin' that responds to speed and passenger desires.

• Form: On top of streamlined bodies that maximize aerodynamic efficiency, a line of intentional asymmetry (Glitch Form) that appears to expand or warp upon reaching the system critical point is applied.

• Skin: It's not just a painting, it's a smart polymer skin where fine particles react to light. Depending on the train's acceleration and the sum of its internal lvii, the surface's texture changes finely from a smooth curved surface to a sharp sawtooth-shaped scale.

Step 2: Abstract Sketching of the Rack

Concept: Intentionally captures 'symbolic deficiencies' that occur between perfect data collected by AI.

Perform: When AI automation systems propose perfect symmetry, Choi Chul-joo's 'conceptual abstract' filter is applied to castrate unnecessary decorations and create intrinsic asymmetry and spatial gaps.

The result: It derives a "ghost silhouette" that allows users to project their desires, leaving only the functional core of the product.

- Sketch Components

Top View Plan

• Aerodynamic head: Ultra-long axis nose design that disperses shock waves during sonic breakthrough.

• Variable wing rails: a side guide that changes angles minutely to control centrifugal forces ($\Delta$) in a curved section.

• Energy Core Circulation: a path of light that penetrates the center of the train and projects the 'collective aurora' data inside to the outside.

Perspective View

• Visibility of galloping: a visual afterimage representation of the soundscape that forms around the body when the train is galloping.

• Smart Light-emitting: LED strips embedded in the exterior walls project the emotional state of the interior passengers to the outside in RGBW spectrum, making the train itself look like a giant light creature.

• Tunnel entry mode: Phase distortion in which the curvature of the surface changes in response to pressure changes.

Step 3: Hallucination's Event Continuity Construction

Concept: Reorganize hallucinations, an error in AI, as creative 'events' of design.

Perform: Translate hallucinatory drawings generated by AI in defiance of the laws of physics into conti in 'comic images' This serves as a visual bridge to reach The Real.

The result: A point of focus is established for products with unrealistic but intense energy.

[Color Plan: Libidinal Spectrum]

The outer shell of the train is covered with nanoparticle-embedded smart polymer skin, which transitions color to three main phases depending on driving conditions and internal desire summation (sum).

1. Symbolic Order (Symbolic Order: I)

• Condition: Settlement station standby and constant speed driving below 300 km/h.

• 메인 컬러:Deep Prussian Blue &Frost White

• Directing: A cool yet sophisticated white body is topped with a subtle flow of transparent blue sine waves. It is a static color that symbolizes control and safety of the system.

2. LIBIDINAL ACCELERATION: D)

• Condition: Quick acceleration, tunnel entry, attempting to break through the speed of sound.

• 메인 컬러:Electric Magenta &Vivid Violet

• Directing: The blue light rapidly transforms into a magenta tone that is a mixture of red and violet. The waves of light rip in the form of sharp sawtooth, leaving an intense optical afterimage to the rear of the vehicle body.

3. Existential Critical Point Phase (Sublimation: i)

• Condition: Maximum speed reached and energy saturation.

• 메인 컬러:RGBW Aurora Spectrum &Digital Glitch Gold

• Directing: An aurora spectrum where all colors are fused into one covers the entire body. A golden digital glitch noise is generated in certain areas, sublimating the 'scream' of organic life beyond mechanical limits into visual aesthetics.

Step 4: Digital Big Other Integration

Concept: Integrate social norms and surveillance systems (batters) into the product's interface.

Perform: redesign the sensor and display layout from a 'gaze' perspective. Automate the product to interact with you as an iconic authority, not just as an assistant.

Results: Designing an interface and external sensor unit reflecting the visual order of the digital panopticone.

[Weekly rendering key elements]

1. Smart Chromium Polymer Skin: It flexibly reflects the surrounding landscape under sunlight, and the phase distortion is more clearly revealed, where the curvature of the surface changes minutely with speed.

2. Subtle daytime aurora: even in a bright atmosphere, there exists a translucent layer on which internal Libido energy is projected. White & deep blue tones in stable state ($I$) combine with the body base to complete a refined mechanical aesthetic.

3. Organic asymmetric silhouette: Through clear contrast between light and shade during the week, the twisted curves and glitch foam unique to the 'data creature' created by destroying static straight lines are expressed in three dimensions.

4. Dynamic Shadows: Sharp shadows on the bottom of the body and side wing rails at high speed convey the overwhelming sense of mass and speed of the train at the same time.

This weekly rendering shows that 'Hyper-L' goes beyond mere light production and is a 'living skin' that resonates with human desires in its physical form and material itself. 

Step 5: Mirror Stage Materialization

Concept: Encourage users to discover their ideal self in the product.

Perform: AI learns the user's psychological feedback in real time to fine-tune the texture, gloss, and lighting of the product.

Result: Final finish with narcissistic bonding that makes users mistake AI for 'another me'.

The [Desire Sound Interface] system now extends beyond the public space of the train to the 'Personal Desire Device (PDD)', which is carried and controlled by individual passengers. The device is not just an information terminal, but acts as a 'sensory hub' connecting the passenger's inner world with the super-high-speed giant neural network.

1. Libido Core: Portable Sensory Synchronization (Libido Core)

It is an organic type of device that fits into the palm of the passenger's hand and collects biometric signals to generate real-time audiovisual feedback.

• Design Techniques: Phase distortion glass. Device surface is liquid-like and refracts light inside.

• Physical interface: Instead of mechanical buttons, it provides haptic feedback in response to the occupant's gripping pressure and skin conductivity.

• Visual production: When the passenger feels anxious or empty, the device emits a static blue sine wave, but resonates with the train and rips and vibrates with intense magenta-toned sawtooth waves as desire erupts.

2. Personal Boyd Canvas: Holographic Interface (Void Canvas)

A personalized HUD field projected from the device that visualizes the data assigned to you during a 'collective aurora' on the train.

• Design Techniques: Particle Simulation. Particles in the air scatter and gather at the passengers' hand gestures, transforming the 'verbal acoustic landscape' into a visual signifier.

• Functional features: the device captures physical noise (Delta) generated when a train passes through a tunnel or accelerates rapidly, sublimating it to brilliant glitch aesthetics.

• Psychological effect: Passengers restore their subjectivity by visually confirm‎ing that their small movements are creating variables in the soundscape of the huge train.

3. Libido Sync mode: interlock seat and sleep pod

When the device is placed in a docking station in the seat, the data on the personal device is extended to the entire train system (sum).

• Space experience: As soon as the device is docked, the 'energy field' that forms around the seat is synchronized with the passenger's personal device settings.

• Sleep Pot Interworking: The device detects the unconscious flow that occurs during sleep and converts it into the most tranquil ultra-low-band Pink Noise and soft hydrodynamic-based lighting to fill the inside of the pot.

Step 6: The Incarnation of the Real of Concept Abstract Realism

Concept: Transforming abstract concepts into solid physical reality.

Perform: Automate 3D printing and precision processing while maintaining 'Comic-book lines' clarity during the engineering optimization phase.

The result: The 'conceptual abstract realism' object created as a real product.

- Driver interface: The Libidinal Cockpit

The driver's seat is no longer a control device. It is a 'Nural Junction' where the engineer's soul is directly connected to the enormous mass of the train.

1. Visual Design: Frequency Spectrum Display

• Delta (Spatial Error) Transformation: Delta values, which occur when the engineer veers slightly off the prescribed trajectory or suspects a path, are visualized as 'Phase Distortion' around the main display.

• V_desire (Acceleration) conversion: The engineer's accelerator will (V) is converted to RGB strobe lighting in the form of Sawtooth, hitting the entire driver's seat.

2. Auditory Design: Roaring of Sawtooth Waves

• The sound frequency (Hz) rises nonlinearly in proportion to the locomotive engineer's excitement, and a smooth sine wave is torn into sharp Sawtooth waveforms, which are verbal screams from the locomotive engineer tearing through the system's stuck signifiers (I).