개념추상실재학 [4] 개념추상실재미술학자 최철주는 개념추상에서 디자인의 예술적 가치과정을 살펴보고 시각미술에서 욕망이론을 통해 디자인의

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개념추상실재학 [4] 개념추상실재미술학자 최철주는 개념추상에서 디자인의 예술적 가치과정을 살펴보고 시각미술에서 욕망이론을 통해 디자인의 의미에 접근하는 개념적 추상의 실재 이미지가 욕망 개념의 언어적 의미 구조로서 학문으로 나타나는 개념추상실재학임을 정의한다. 따라서 문화디자인박사인 최철주는 현대미술비평과 함께 현대미술의 미적 가치, 과정, 실재성을 추상화디자인이라는 개념으로 접근해서 회화작품의 의미를 언어문법구조로 접근한 개념추상실재학을 상정(想定)한다. 概念抽象実在学[2]概念抽象実在学者のチェ·チョルジュは、概念抽象でデザインの芸術的価値過程を調べ、視覚美術で欲望理論を通じてデザインの意味に接近する概念的抽象の実在イメージが欲望概念の言語的意味構造として学問で現れる概念抽象実在学であることを定義する。 したがって、文化デザイン博士のチェ·チョルジュは現代美術批評とともに現代美術の美的価値、過程、実在性を抽象化デザインという概念で接近し、絵画作品の意味を言語文法構造で接近した概念抽象実在学を想定する./ Conceptual Abstract Realism Science [4] Conceptual Abstract Realism Art Scholar Choi Chul-joo (Master of Product Design and Doctor of Railway Culture Design) examines the artistic value process of design in conceptual abstraction and defines that the real image of conceptual abstraction, which approaches the meaning of design through desire theory in visual art, is a conceptual abstract realism that appears in science as a linguistic semantic structure of desire concept. Therefore, along with modern art criticism, Dr. Choi Chul-joo, a cultural design doctor, approaches the aesthetic value, process, and reality of modern art with the concept of abstract design, and assumes conceptual abstract realism in which the meaning of the painting is approached with linguistic grammatical structure.

최철주 개념추상실재학의 정의는 개념의 보편적 실재론으로서 보편적 개념과 분리된 실재로서 제한된 형태의 범위에서의 이미지로 한 상징구조의 추상적인 개념의 존재를 언어적 의미 이미지로 동일시하고, 그 실재구조를 논리적인 실재의 자리로 구성하기 위해 수학적 욕망의 공식으로 실재화함으로써 학문적으로 추상구조를 실재 이미지로 디자인하고, 현대미술에서 추상적 개념을 존재 이미지로 직관하며, 언어적 의미와 무의식의 욕망을 철저한 디자인 공정을 통해 추상화함으로써 현대미술 개념을 깊이 있게 연구하는 현대미술 추상학이며, 현대 미술과 시각적 현실의 개념 깊이, 또는 세계를 미적 가치로 보는 방식을 동시에 연구한다. チェ·チョルジュ概念抽象実在学の定義は、概念の普遍的実在論として普遍的概念と分離された実在として制限された形態の範囲でのイメージとした象徴構造の抽象的な概念の存在を言語的意味イメージとして同一視し、その実在構造を論理的な実在の席に構成するために数学的欲望の公式で実在化することにより学問的に抽象構造を実在イメージとしてデザインし、現代美術で抽象的概念を存在イメージとして直観し、言語的意味と無意識の欲望を徹底したデザイン工程を通じて抽象化することによって現代美術概念を深く研究する現代美術、現代美術を深く研究する。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.

개념추상실재 디자인은 최철주 박사가 제안한 독창적인 예술 및 디자인 이론으로, 개념 추상과 현실의 관계를 언어적, 상징적 구조 속에서 탐구하는 철학적 접근 방식입니다. 이 이론은 단순한 시각적 표현이 아닌 욕망과 의미의 구조를 반영하는 추상적 개념으로 디자인의 예술적 가치와 의미를 분석하는 개념 추상 미술에서의 디자인을 언어 문법처럼 해석하고 회화의 의미를 분석하는 현실적인 이미지로 이론화한다.

개념추상실재 디자인 과정은 디자인을 상징적인 구조로 보고, 추상적 대상을 통해 사실주의 추상화의 개념을 계획하며, 이를 현대 미술 비평과 결합하여 미적 가치와 현실을 추상적 디자인의 틀 안에서 재구성하고 시각화하며, 실제 이미지의 의미를 언어 문법 구조로 해석하여 디자인의 철학적 깊이를 학문적으로 확장합니다.

따라서 추상적 현실은 단순한 시각적 아름다움을 넘어 인간의 욕망과 언어 구조 속에서 디자인을 현실로 드러내는 예술적, 학문적 대상으로서 디자인의 철학적, 기호학적 이미지에 접근한다.  概念抽象実在デザインはチェ·チョルジュ博士が提案した独創的な芸術およびデザイン理論で、概念抽象と現実の関係を言語的、象徴的構造の中で探求する哲学的アプローチです。 この理論は単純な視覚的表現ではなく、欲望と意味の構造を反映する抽象的概念で、デザインの芸術的価値と意味を分析する概念抽象美術でのデザインを言語文法のように解釈し、絵画の意味を分析する現実的なイメージで理論化します.  概念抽象実在design過程はデザインを象徴的な構造と見て、抽象的対象を通じて写実主義抽象化の概念を計画し、これを現代美術批評と結合して美的価値と現実を抽象的デザインの枠組みの中で再構成して視覚化し、実際イメージの意味を言語文法構造と解釈してデザインの哲学的深さを学問的に拡張します.  したがって、抽象的な現実は単純な視覚的美しさを越え、人間の欲望と言語構造の中でデザインを現実に表わす芸術的、学問的対象としてデザインの哲学的、記号学的イメージに接近します/ Conceptual Abstract Realism Design is a unique art and design theory proposed by Dr. Choi Chul-joo, a philosophical approach that explores the relationship between conceptual abstraction and reality in a linguistic and symbolic structure. This theory theorizes that design in the visual art of conceptual abstraction, which analyzes the artistic value and meaning of design as an abstract concept that reflects the structure of desire and meaning, not just a visual expression‎, is interpreted like language grammar and theorizes it as a realistic image that analyzes the meaning of paintings. The conceptual abstract realism design process sees design as a symbolic structure, plans the concept of realism abstraction through abstract objects, combines it with contemporary art criticism, reconstructs and visualizes aesthetic values and reality into the framework of abstract design, and interprets the meaning of real images into a language grammar structure to expand the philosophical depth of design academically. 

개념추상실재미술학자 루이 최철주는 개념적 사건과 행위의 이야기가 시각예술을 통해 현대 개념의 추상적 욕구를 언어적 의미로 시각화하고 사진, 만화, 미술, 공예디자인의 미적 가치, 프로세스, 개념추상적 실재성을 검증하여 개념추상 미술이론에서의 미술작품의 의미에 접근하는 개념추상실재론으로 비평한다. 이것은 문화디자인박사 최철주의 추상화 디자인 프로세스와 개념추상 리얼리즘 추상화 디자인 방법론에 의한 개념추상실재학 이론을 통해 미적 가치의 예술성이 검토하고 욕망의 추상적 의미를 분석한 개념추상실재학 미술평론: 概念抽象実在学者のルイ·チェチョルジュは、概念的事件と行為の話が視覚芸術を通じて現代概念の抽象的欲求を言語的意味で視覚化し、写真、漫画、美術、工芸デザインの美的価値、プロセス、概念抽象的実在性を検証し、概念抽象美術理論での美術作品の意味に接近する概念抽象実在論で批評する。 これは文化デザイン博士チェ·チョルジュの抽象化デザインプロセスと概念抽象リアリズム抽象化デザイン方法論による概念抽象実在学理論を通じて美的価値の芸術性が検討し欲望の抽象的意味を分析した概念抽象実在学美術評論: Conceptual abstract Realism Art Scholar Louis Choi Chul-joo criticizes the abstract needs of modern concepts in a linguistic sense through visual art, examining the aesthetic values, processes, and conceptual abstract realities of photography, manga, art, and craft design, and approaches the meaning of works of art in conceptual abstract art theory. This is a conceptual abstract realism art review that analyzed the abstract meaning of desire through the abstraction design process of Doctor of Cultural Design, Choi Chul-joo and the conceptual abstract realism abstraction design methodology: 

개념추상실재미술학자 루이 최철주의 욕망 이론과 시각 예술의 매력적인 교차점에서 현실적인 이미지가 등장합니다. 그의 욕망 이론과 개념적 추상 리얼리즘의 틀을 바탕으로 비현실적인 형태의 빛과 타인의 욕망을 바탕으로 가역적인 음영의 흔적으로 개념을 추상화한 예술입니다. 그러나 현실의 장소를 결코 온전히 파악할 수 없는 추상으로 표현하려는 타자의 욕망, 즉 초기 개념 예술의 개념으로서 회화성의 귀환을 설명하는 개념적 추상 리얼리즘의 추상화다./ 욕망을 성공적으로 매개할 수 있는 문학적 개연성(蓋然性) the literary probability of successfully conveying desire    

Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire, 113X165cm, acrylic and composite materials on cloth, 2025

욕망을 성공적으로 매개할 수 있는 문학적 개연성(蓋然性) 

욕망 개념의 언어적 의미는 시각적 문법을 매개하는 공간적 관계를 형성합니다.

타인의 욕망에 참여하여 욕망의 장소를 기반으로 한 관점 구조로서의 실제 이미지를 구축하는 문화적 관찰입니다. 이는 타인의 욕망에 참여하고자 하는 문화적 욕망을 성공적으로 매개하고 욕망의 장소를 기반으로 한 관점 구조로서의 실제 이미지를 구축할 수 있는 문학적 개연성이다. 그 이미지에서의 욕망 자리에 배열된 오브제로서 사건 이미지의 주체적 욕망 개념을 실재와의 차이로서 추상을 생성한다.

여기서 결핍된 욕망으로 제시된 추상과 불연속성을 이루는 실재 이미지레 가역적 빛과 음영적 형태를 주어서 추상화를 구성한다.

그 추상화는 욕망의 주체를 지향하는 벡터로서 기호적 상징계에서 소외된 욕망의 존재를 실재 이미지로 분열하여서 욕망 개념이 실재 이미지로 전이할 없는 프로이드 사후성의 본질에서 벗어나 최철주의 욕망 개념은 가역적 빛의 음영으로 원인적인 추상적 욕망에서 무의식적 욕망 개념을 매개자로 하여서 욕망의 추상성을 소급한 결과룰 실재 이미지를 연출한다.

이것은 라캉의 왜상적 실재를 평면적 실재 이미지로 직시하는 것이다. 욕망 매개자로서 가역적 빛의 음영이 발현한 욕망 구조는 소유의 속성(possessive attributes)을 가진 욕망 개념과 실재를 분열한 결핍된 욕망의 추상계에 마문다. 즉 추상계에서 결핍된 욕망 공간을 설정하여서 분열한 실재를 언어적 의미로서 추상적 이미지를 실재에 통합(integration)한다.

욕망의 개념은 실제 이미지로 설계되었으며, 욕망의 개념은 여러 기존 프레임에서 언어적 의미로 구조적으로 표현됩니다. 이는 결핍된 욕구으로 인해 발생하는 언어적 의미로서의 회화적 이미지로 표현한 것입니다.

선거 기간 동안 트럼프는 결핍된 욕망가 연결성을 가진 사진 이미지를 통해 결핍된 욕망을 넘어 대통령 후보가 되는 정치적 위기를 피합니다. 

이것은 시각적 정치 이미지에서 최우선되는 정치 리더의 이미지가 되어서 대통령 선거에 미치는 영향을 주어서 유권자와의 후속 관계를 유발한다. 

인기 있는 방탄소년단의 음악을 연출하는 행위처럼 그는 성조기를 배경으로 한 이미지로서의 미국 대통령의 심볼로 의미화하여서 유권자를 조작하는 정치적 이미지로서 상징적 승리 구조를 구성했다.

여기서 정치적 실재에 근거하지않고 상징적 오브제로서 성조기와 분리된 언어적 의미로서 추상적 욕망 개념은 동일한 실재의 보편적 미적 개념으로 발전한 추상적인 실재 이미지가 된다.

그는 보편적 가치체계에서 위기적 욕망의 소유의 속성으로서 전통의 잠식된 사회성을 벗어나 개인적 욕구로서 지나친 행정 개입과 정치력으로 한 경제적 정치쟁점화를 유발했다. 또한 결핍된 욕망의 시각적 문법으로 복지국가를 주장하는 왜곡된 정치로서 실질적 복지는 회손되고 시장경제를 독점하여서 그것의 정당성을 꾸민다.

Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire-sketch, 113X165cm, acrylic and composite materials on cloth, 2025

성공적 욕망의 매개자가 위기적 욕망의 소유의 속성 즉 결핍된 욕망의 시각 문법은 문화적으로 변모한 회화 분야와 결합되어 있다. 

욕망체계 언어적 기능에서 벌전한 시각 문법적 이미지가 추상적 의미를 지닌다.

따라서 최철주의 욕망 공식에 따른 추상적 욕망 개념의 언어적 의미로서의 실재 이미지는 추상화다.

실재 이미지로 귀결된 추상화는 추상적 욕망의 주체가 분열된 거울에 비친 실재 이미지와 추상적 욕망 개념을 동일하게 구성한 회화적 이미지다. 그 이미지는 언어적 의미로 언표(statement)하는 거울처럼 욕망 개념이 예측 가능한 이미지를 실재의 자리에 구성하여서 실재 이미지를 재현한다.

그리고 실재 이미지와 동일한 욕망 개념에서 출현한 자아가 그 이미지의 언어적 의미를 타자의 욕망에 맞추어 가역적 빛의 음영 구조로서 동일시 한다.

가역적 빛의 음영 구조는 새로운 결핍된 타자의 욕망을 이상적인 문제로 만들며, 언어적 의미에서 현실을 시각적 구성으로 나타낸다.

이렇게 분리(separation)된 구조는 결핍된 욕망을 추상적 형태와 대조되는 언어적 의미의 시각적 문법을 창조하여서 실재 사건 이미지를 재현한다.

오브제로서 사건 이미지의 재현은 결핍된 욕망의 구조로서 추상적 욕망 개념으로 진행되며 이미지는 타자의 욕망을 연출한 실재 구조와 사건 이미지를 공유한다.

사건 이미지의 연출은 무의식적 욕망을 언어적 의미의 실재 구조로서 추상적 욕망 개념의 시점에서 결핍된 욕망을 회귀하는 가역적 빛의 음영으로 한 효과적인 실재의 자리를 구현하여서 타자의 욕망이 특정 대상으로서 동일한 언어적 의미를 해석한 이미지를 결정한다.

문법적 언어의 의미는 성공적인 욕망의 매개체로서 부족한 추상적 욕망과 동일할 수 없기 때문에 추상적 욕망이 원하는 실제 판타지 구조에서 벗어나 요구에 따라 실제 이미지를 갖는 이중 의미 구조를 만듭니다. 선택된 실제 이미지는 욕망이 필연적으로 소유하는 소유의 속성과 동일한 현실의 환상을 전달하는 상관 객체이며, 연결된 실제 이미지는 욕망이 필연적으로 소유하는 소유의 속성과 동일한 현실에 실제 환상을 전달하는 상관적 오브제로 선택한다.

이것은 욕망의 개념과 상관관계가 있는 문화적 욕망 배경과의 거리를 좁혀 특정한 욕망의 이미지를 만들어냅니다. 또한 이미지 디자인을 곱한 최철주 욕망 공식과 같이 기하학적 개념의 수학으로 장식된 객체에서 욕망의 언어적 의미를 선택하여 타인의 욕망을 관점으로 유도할 수 있으며, 욕망 구조에서 가역적인 빛의 방향과 그늘의 크기로 추상적 욕망 개념의 관점에서 벗어난 실제 이미지를 벡터로 구성할 수 있다.

따라서 사물의 원근적 묘사보다는 사물의 위치를 현실로 결정하는 3차원 구조, 즉 기하학적 현실의 수학적 이론에 따라 추상적인 욕망 개념을 평면 위에 묘사하는 그림, 즉 미적 추상화를 통해 구조 속 욕망의 구조를 만들어내는 순간적인 시선에 초점을 맞춘 욕망의 이미지입니다.

수학적 크기와 방향을 공유하는 욕망의 유클리드 백터는 추상적 욕망 개념을 유클리드 공간에서 성공적 욕망의 매개자로서 실재의 구조를 디자인한 기하학적 오브제를 만든다. 이것은 사건 이미지로서 실재 이미지를 재현하여서 결핍된 욕망의 존재로서 욕망 개념을 매개하는 언어적 의미의 이미지가 결핍된 욕망의 본질을 구현한다.

그리고 결핍된 욕망의 구조가 언어로 전이되고 의식 구조 속에서 추상적인 즐거움이 제거되는 언어적 현실로서 형태소를 중첩하여 구성됩니다.

형태소를 구성하는 문법성에 따르면, 욕망 개념의 이미지는 의미를 말하는 구조주의 언어학처럼 언어적 의미에서 구조적 질서를 찾는 것과 동일하다.

이미지로서의 언어적 추상화는 문법 규칙에 따라 형태소를 실제 이미지로 구성하는 과정입니다.

이는 문장을 구성하는 과정에서 문장의 의미로서 언어적 의미로서 실제 이미지와 단어를 구별하는 은유적 기호를 의미합니다.

따라서 추상화는 최철주의 욕망 개념에서 사건과 퍼포먼스 이미지의 언어적 의미로서 상징적 형태소를 임의의 실제 이미지로 구성하는 그림입니다. 추상화를 문법적으로 해체하려는 시도는 칸트처럼 평면적 의미와 경험적 객관적 현실을 시각적, 미학적 표현으로 구성하는 이중 구조를 가지고 있습니다. 이는 현실에 내재된 욕망의 언어적 의미를 문법적으로 해체하는 것과 달리 현실에 내재된 욕망의 개념에 의해 유도된 욕망의 언어적 의미를 이미지로 구성하고 욕망의 결핍을 희생함으로써 추상화의 언어적 의미를 현실의 이미지로 전이하는 것입니다.

이렇게 사건과 공연 이미지에 대하여 언어적 의미로서 언표(statement) 하여서 의식적 구조의 이미지를 의미화 한다.  

무의식에서 파생된 추상의 언어적 의미를 욕망의 향유에서 거세로 전환하면서 언어적 행동의 차원으로 문법적으로 해체함으로써, 최철주의 추상화는 주관적 목적의 원칙으로서 미적 욕망 개념, 즉 칸트와 같은 미적 욕망 개념을 가진다.

욕망의 매개체로서의 욕망의 속성 구조는 가역적인 빛의 그림자 속에서 실제 이미지로 완성됩니다. 즉, 성공적인 욕망의 매개체로서 결핍을 표현하고자 하는 타자의 욕망은 추상적 욕망과 동시에 존재하는 언어적 의미의 실제 구조에 의해 드러납니다. 이는 메타언어적 기능에 맞는 욕망의 개념을 실제 이미지의 언어적 의미로 이끄는 추상적 욕망의 실제 구조입니다.

따라서 실재 구조를 이미지의 언어적 의미로 재현하려고 문법적 대상의 결핍된 욕망의 주체로서의 속성은 언어적 욕망 배경과 욕망의 자리 그리고 오브제로서 사건 이미지를 결핍된 욕망의 소유적 속성에 따라 미적 대상의 결핍된 욕망을 언어적 의미로서의 상징성을 추상적 실재로서 동일한 기호적 회화 이미지로서 미적 의미를 정의한다.  

이것은 추상적 실재로서의 추상화가 아니라 이미지의 욕망적 이중 자리를 만들고 그 자리에 추상으로 결핍된 욕망 이미지를 존재하는 실재 이미지로 반복해서 디자인하여서 이미지를 가역적 빛의 음영으로 언어적 개념으로서 추상화의 크기를 소거하고 실재의 범위로 자리를 제한한다.      

따라서 욕망의 언어적 개념으로서 추상적 상징성은 결핍된 욕망의 현상을 가진 기호적 이미지로서 문화적 형태 구조적 역할을 한다.

즉 상징적 형태의 예술적 구조는 타자의 욕망의 상징적 형삭에 맞추어 언어적 기호 의미를 타자가 응시할 수 있도록 회화적 실재 이미지로 전이한다. 

이렇게 타자가 응시할 수 있는 욕망 구조는 오브제로서의 사건 이미지에서 결핍된 욕망의 존재가 가지고 있는 속성을 실재 형태로 구성해서 재현한 이미지다.

그 이미지는 추상적 욕망 개념에 발현되어서 문화성에 따른 결핍된 욕망이 순간적으로 발생하는 사건 이미지에서 소비되는 문회에 맞춘 기호적 추상화로 변모된다.

그 추상화는 문화성의 서사적인 현존하는 벡터 이미지로서 문학적 서사적 이미지와 욕망 개념적 결핍된 이미지로 구분된다.

여기서 욕망 개념의 언어적 의미로서 사건 이미지를 행위를 표시하는 동사로서 문법적 벡터이다. 즉 벡터는 욕망 개념을 행동하는 동사지만 언어적 의미를 시각적으로 표출할 수 없기 때문에 욕망 개념을 추상하여서 언어적 의미와 동일한 실재 이미지로 시각화한다.

이렇게 욕망 개념의 언어적 의미를 시각적 표현이 가능하도록 이미지를 기호 방식에 맞도록 디자인을 반복하여서 문화적 사회성에 범위에서 추상적 욕망 개념을 가역적 빛의 음영으로 서사적 이미지로 결정한다.

또한, 성공적인 욕망의 매개체로서의 대상의 욕망 개념, 즉 추상적인 대답을 은유적 현실로 거부하는 언어적 의미의 수사적 이미지는 빛의 그림자 속에서 가역적인 빛이 비추는 어두운 면의 연못에 반영되어 욕망의 결핍을 뒤로 숨기고 욕망의 결핍에 의해 소유된 대상을 바라보는 대상의 모습을 반영합니다.

욕망을 성공적으로 매개할 수 있는 문학적 개연성은 추상적 욕망의 조작에서 벗어난 논리적 실재 이미지로 추론하는 로고스(논증) 함으로서 수사학적으로 추상을 오브제로 설득하는 언어적 의미를 정립하여서 타자의 욕망으로 입증하는 논거(preuve)를 통한 실재의 이미지를 판단한다.

따라서 사건 이미지에 논리적 실재 이미지로 문학적 개연성을 부여하더라도 사건의 개연성과의 욕망으로 증명된 행위 이미지는 실제 사실이기 때문에 사건의 결과를 가능한 이유로 설명하고자 하는 욕망의 보편적 논증을 따른다. 이처럼 사건의 결과를 입즐하기 위한 논증 과정은 욕망의 일관된 설정으로서 실제로 가역적 빛의 음영으로 구성하는 추상적 디자인 과정에 맞춰져 있다.

언어적 의미로서 사물의 존재를 사실적으로 구성하기 위해 실제 이미지를 구성하는 추상적 디자인은 특정 사물의 욕망 개념을 일관되게 유지합니다. 또한 특정 욕망 대상의 미적 특성을 끌어내고 추상적 욕망이 이미지에 의해 촉발되지 않도록 욕망의 개념을 실제 이미지로 추상화한다. 

이러한 수사학적 판단으로 한 결핍된 욕망의 소유하는 오브제의 속성과의 개연성에 따른 결과로서의 실재 이미지는 문학적 보편성에 따르기 때문에 그림으로 표현될때에 문학적 개연성에 따른 추상화가 된다. 즉, 추상화가 결핍된 욕망의 이미지에서 언어적 의미를 실제 이미지로 구현하고, 수사적 판단을 통해 욕망의 소유 대상이 추상적 연개성으로 인과적 구성을 가질 가능성이 있는 그림 이미지를 획득합니다. 

이것은 추상화를 구성하는 프로세스의 방법을 가짐으로서 실재 이미지의 추상화를 새롭게 규정한다. 이렇게 정해진 최철주욕망공식으로 한 추상디자인 프로세스를 통해서 욕망 개념이 추상화라는 물적 오브제의 형태를 이룬다. 그리고 결핍된 욕망을 소유하는 오브제가 추상적 개연성으로  실재와의 관계를 결정하여서 타자의 시선에서 추상적 욕망 개념이 언어적 의미를 실재 이미지로 구성하는 주체로서 추상화가 된다.

개연성을 욕망의 개념의 주체로 그리는 것은 타자의 욕망이 추상성과 현실을 하나의 언어적 의미에서 만나겠다는 약속을 지키는 결과를 낳습니다.

그 이미지가 가상이기 때문에 실제 이미지와 다른 욕망 개념의 언어적 의미를 실제 이미지와 동일하게 인식합니다. 

이때 가상 이미지는 추상화를 회화적 이미지로 재현하는 가상 이미지이며, 현실에서 벗어난 새로운 개념의 욕망 공식을 도입하여 현실과 분리된 또 다른 현실을 추상화한다. 

따라서 욕망의 매개자로서 오브제가 현실적 구조로서 개연성을 구성하기 어렵다. 그러나 추상적으로 결핍된 욕망이 사건과 공연 이미지를 실재 이미지로 욕망 공식에 적용한다는 개념은 개연성 추상화의 대상이 될 가능성을 가진다./ 글. 현대 미술평론가 최철주 (문화디자인박사)

Louis Choi Chul-joo, morning glory 2025-4-the literary probability of successfully conveying desire, 113X165cm, acrylic and composite materials on cloth, 2025

the literary probability of successfully conveying desire     

The linguistic meaning of the concept of desire forms spatial relationships that mediate visual grammar. 

It is a cultural observation that participates in the desires of others and builds a real image as a perspective structure based on the place of desire. This is a literary probability that can successfully mediate the cultural desire to participate in the desires of others and build a real image as a perspective structure based on the place of desire.

As an object arranged in the place of desire in the image, the concept of subjective desire in the event image is created as a difference from reality.

Here, abstraction is composed by giving a real image consisting of the continuity of the shaded form of abstract and reversible light presented as a lack of desire, and a reversible light and shaded form.

Abstraction is a vector that targets the subject of desire, and it deviates from the essence of Freud's afterlife so that the concept of desire cannot be transferred to a real image by dividing the existence of desire that is alienated from the symbolic world into a real image. Choi Chul-joo's concept of desire is a reversible shadow of light, and retroactively creates a real image as a result.

This is to face Lacan's dwarf reality as a planar reality image. The desire structure in which reversible shades of light are expressed as a desire medium closes to the abstract world of deficient desire that divides reality and the concept of desire with possessive attributes. In other words, the abstract image is integrated into reality as a linguistic meaning by setting a space for desire that is lacking in the abstract world.     

The concept of desire is designed as a real image, and the concept of desire is structurally expressed in a linguistic sense in several existing frames. This is a picture image of a lack of desire as a linguistic meaning caused by a common lack of desire.

During the election, Trump avoids a political crisis beyond deficient desires through connections to becoming a presidential candidate through photographic images that connect deficient desires. 

This becomes the image of a political leader that is the top priority in the visual political image, influencing the presidential election, leading to a follow-up relationship with the voters

Like directing popular BTS music, he formed a symbolic winning structure as a political image manipulating voters by meaning it as a symbol of the U.S. president as an image set in the American flag.

Here, the concept of abstract desire becomes an abstract reality image that has developed into a universal aesthetic concept of the same reality as a linguistic meaning separate from the American flag as a symbolic object rather than based on political reality.

He broke away from the traditional sociality as an possessive attribute of crisis needs in the universal value system, triggering economic and political disputes with excessive administrative intervention and political power as a personal desire. In addition, actual welfare is undermined as a distorted politics that asserts a welfare state with the visual grammar of insufficient needs, and the market economy is monopolized to justify it.     

The medium of successful desire is the property of possession of crisis desire, the visual grammar of deficient desire, combined with the culturally transformed field of painting 

Desire system In linguistic function, the advanced visual grammatical image has an abstract meaning.

Therefore, the actual image as a linguistic meaning of the concept of abstract desire according to Choi Chul-joo's desire formula is abstract painting.

The abstraction that created the real image is a pictorial image that constitutes the same concept of abstract desire as the real image reflected in a divided mirror. Images reproduce real images by constructing images that can predict the concept of desire on behalf of reality, like mirrors that state them in a linguistic sense.

In addition, the ego that emerged from the same concept of desire as the real image equates the linguistic meaning of the image to the desire of the other as a reversible light shadow structure.

The reversible shaded structure of light makes the desire of the new deficient other an ideal issue and represents reality in a linguistic sense as a visual composition.

This segregated structure creates a visual grammar of linguistic meaning that contrasts deficient desires with abstract forms to reproduce real event images.

As an object, the representation of the event image proceeds as an abstract desire concept as a structure of insufficient desire, and the image shares the actual structure and event image that directed the desire of others.

The production of the event image embodies an effective place of reality in which unconscious desire is a real structure of linguistic meaning and a shadow of reversible light that returns the desire lacking at the time of the abstract desire concept, and determines an image in which the other's desire interprets the same linguistic meaning as a specific object.     

Because the meaning of grammatical language cannot be identical to the abstract desire it lacks as a medium of successful desire, it creates a dual semantic structure, choosing to deviate from the actual fantasy structure desired by abstract desire and have a real image on demand. The selected real image is a correlated object that conveys the illusion in reality that is the same as the property of possession that desire inevitably possesses, and a real image with connection is selected as a correlated object that conveys the real illusion to the same reality as the property of possession that desire inevitably possesses.

This creates a specific image of desire by narrowing the distance from the cultural desire background that is correlated with the concept of desire. Additionally, it is possible to induce the desire of others to perspective by choosing the linguistic meaning of desire in an object decorated with mathematics of geometric concepts, such as the Choi Chul-joo Desire Formula, which multiplies image design, when constructing a real image that deviates from the frame of the abstract desire concept's perspective as a vector as a size of a reversible light direction and shade in the desire structure.

Therefore, rather than a perspective description of an object, it is a three-dimensional structure that determines the position of an object as reality, a picture that depicts an abstract desire concept in accordance with a mathematical theory of geometric reality on a plane, that is, an image of desire that focuses on the instantaneous gaze that creates the structure of desire in the structure in three dimensions through aesthetic abstraction.     

Euclidean vector of desire, which shares a mathematical size and direction, creates a geometric object that designs the structure of reality as a medium of successful desire in Euclidean space. It reproduces the real image as an event image and embodies the nature of desire lacking an image in the linguistic sense that mediates the concept of desire as a being of lack.

And it is composed by superimposing morphemes as a linguistic reality in which the structure of insufficient desire is transferred to language and abstract enjoyment in the conscious structure is eliminated.

According to the grammaticality that constitutes the morpheme, the image of the concept of desire is the same as finding a structural order in the linguistic sense, like the structuralist linguistics that speak meaning.

Linguistic abstraction as an image is the process of constructing morphemes as real images according to grammatical rules.

This means a metaphorical symbol that distinguishes words from real images as linguistic meanings as the meaning of sentences in the process of constructing sentences.

Therefore, abstraction is a picture that composes symbolic morphemes into arbitrary real images as the linguistic meaning of events and performance images in the concept of Choi Chul-joo's desire. An attempt to grammatically dismantle abstraction has a dual structure that consists of flat meaning and empirical and objective reality, like Kant, as a visual and aesthetic expression‎. This is to transfer the linguistic meaning of abstraction to an image of reality by constructing the linguistic meaning of desire induced by the concept of desire inherent in reality as an image and sacrificing lack of desire, unlike the grammatically dismantling of the linguistic meaning of desire induced by the concept of desire inherent in reality.

In this way, images of events and performances are expressed in linguistic meaning, and images of the structure of consciousness are made meaningful 

By grammatically dismantling the linguistic meaning of abstraction derived from unconsciousness into the dimension of linguistic behavior while shifting from enjoyment of desire to castration, Choi Chul-joo's abstract painting has an aesthetic desire concept, that is, an abstract beauty like Kant, as a principle of subjective purpose.     

The attribute structure of desire as a medium of desire is completed into a real image in a reversible shadow of light. In other words, the other's desire to express deficiency as a medium of successful desire is revealed by the actual structure of the linguistic meaning that exists at the same time as abstract desire. This is the actual structure of abstract desire that leads the concept of desire that fits the meta-lingual function to the linguistic meaning of the actual image.

Therefore, to reproduce the actual structure into the linguistic meaning of the image, the attribute as the subject of the grammatical object's deficient desire defines the aesthetic meaning as the same symbolic painting image as abstract reality according to the linguistic desire background, the place of desire, and the possession attribute of the event image as an object.

This is not an abstraction as an abstract reality, but creates a desire double place in an image and repeatedly designs an abstractly deficient desire image as an existing real image, erasing the size of abstraction as a linguistic concept with a reversible shade of light and limiting the position to the scope of reality.     

Therefore, abstract symbolism as a linguistic concept of desire plays a cultural and structural role as a symbolic image with a phenomenon of insufficient desire.

In other words, the artistic structure of the symbolic form is transferred to a pictorial reality image so that the meaning of linguistic symbols can be stared at by the other in line with the symbolic criminal code of the other's desire.

In this way, the desire structure that the other person can look at is an image that reproduces the existence attribute of desire that is lacking in the event image as an object in its real form.

Images are represented by the concept of abstract desires, and insufficient desires based on culturality are transformed from images of instantaneous events into symbolic abstractions tailored to the cultures consumed.

The abstraction is a narrative existing vector image of culturality and is divided into a literary narrative image and a conceptual lack of desire.

Here, as a linguistic meaning of the concept of desire, the event image is a grammatical vector as a verb that displays an action. In other words, a vector is a verb that acts on the concept of desire, but it cannot visually express its linguistic meaning, so it abstracts the concept of desire and visualizes it as a real image identical to the linguistic meaning.

In this way, the linguistic meaning of the concept of desire is repeated to fit the image in a symbolic way so that it can be visually expressed, and the abstract concept of desire is determined as a narrative image in a reversible shadow of light in the range of cultural sociality.

Additionally, the object's concept of desire as a medium of successful desire—a rhetorical image in a linguistic sense that rejects abstract answers as a metaphorical reality—is reflected in the pond in the dark side where reversible light shines in the shadow of light, hiding the lack of desire on the back and reflecting the object's appearance as a gaze on the object possessed by the lack of desire.

Literary probability that can successfully mediate desire is logos (argument) that infers as a logical reality image away from the manipulation of abstract desire, and rhetorically establishes a linguistic meaning that persuades abstraction as an object and judges the image of reality through argument that proves the desire of others.

Therefore, even if the event image is given literary probability as a logical reality image, it follows the universal argument of desire to explain the outcome of the event as a probable reason because the probability of the event and the performance image proved by desire are real facts. In this way, the process of argument for telling the outcome of the event is tailored to the abstract design process that actually constitutes a shadow of reversible light as a consistent setting for desire.     

To construct the existence of an object realistically as a linguistic meaning, abstract design that constructs a real image consistently maintains the concept of desire of a particular object. It also draws out the aesthetic characteristics of a particular object of desire and abstracts the concept of desire into a real image so that abstract desire is not triggered by an image.

The actual image as a result of the possibility of the possessive object of the lack of desire due to this rhetorical judgment follows literary universality, so when expressed as a picture, it is abstracted according to literary probability.

In other words, a pictorial image is acquired from the image of desire lacking in abstraction that embodies linguistic meaning as a real image with the possibility that the possessing object of desire with rhetorical judgment has a causal composition with abstract probability.

This newly defines the abstraction of real images by having a method of process constituting abstraction. Through the abstract design process using the Choi Chul-joo desire formula determined in this way, the concept of desire forms a material object called abstraction. In addition, the object that possesses insufficient desire determines the relationship with reality with abstract probability, and from the perspective of others, the concept of abstract desire becomes abstract as a subject that constitutes the linguistic meaning as a real image.     

Painting probability as the subject of the concept of desire results in the other's desire keeping the promise of meeting abstraction and reality in a single linguistic sense.

Because the image is virtual, it recognizes the linguistic meaning of the concept of desire, which is different from the real image, the same as the real image.

At this time, the virtual image is a virtual image that reproduces abstraction as a pictorial image, and another reality separated from reality is abstracted through the introduction of a new concept of desire formula that deviates from reality. 

Therefore, it is difficult for an object to construct probability as a realistic structure as a medium of desire. However, the notion that abstractly deficient desires apply event and performance images to desire formulas as real images has the potential to be subject to probability abstraction./  Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

[욕망 역학 공식 디자인 방법론]: 최철주의 욕망 공식을 바탕으로 인간의 내면의 결핍과 욕망 구조를 수학적, 물리적, 미적 가치로 변환하여 디자인에 적용한 방법론입니다. 이 방법론은 사용자의 단순한 기능적 욕구(사용자 센터)를 넘어 무의식적 박탈감과 기계적 에너지를 시각적, 공간적 디자인에 구현합니다.

- 디자인 방법론 4단계 프로세스

• 1단계: 결핍 욕망의 벡터화: 인간 내면의 결핍 정량화 방법론, 결핍 욕망의 벡터화 인간 내면의 결핍을 정량화하기 위해 욕망 공식 Mdesire = ∑∅∂ / (1 - ∂)을 사용합니다. 디자인 공간이나 제품 표면의 이 결핍 값을 벡터 데이터로 대체하면 객관적인 지표가 됩니다. ∅ (공백, 결핍): 현실을 상징하고, ∂ (partial 미분 기호): 타인과의 욕망 과정, ∑ (합 기호): 주체는 동일한 결핍의 반복을 표현하며, (1 - ∂): 욕망에 대한 저항 또는 만날 수 없음.

1. 욕망 공식의 구조적 해석

제시된 공식 Mdesire = frac{ sum emptyset partial}{1 - partial} 은 주체가 타인과의 관계 속에서 끊임없이 마주하는 결핍과 그 저항의 구조를 수리적 기호로 모델링한 것입니다.  

- emptyset (공백, 결핍): 현실을 상징하는 근원적 비어 있음이자, 주체가 실재계와 마주할 때 발생하는 결핍의 크기입니다.

- partial (미분 기호, ∂): 타인과의 욕망 교류 과정에서 발생하는 미세한 변화율과 차이를 의미합니다.

-sum (합 기호): 주체가 동일한 결핍 구조를 반복해서 재현하고 축적하는 양상을 나타냅니다.

- (1 - partial) (분모): 욕망의 충족을 가로막는 구조적 저항, 혹은 타자의 욕망과 온전히 합일될 수 없는 한계(결핍의 지속성)를 뜻합니다.

2. 디자인 공간 및 제품 표면에서의 벡터 데이터 치환

인간의 추상적인 내면 상태를 객관적인 지표로 전환하기 위해, 위 공식을 시각 디자인과 제품 공학에 다음과 같이 대입할 수 있습니다.  

- 공간적 공백(emptyset)의 디자인화: 제품 표면이나 공간 배치에 의도적인 '여백'과 '음영(Reversible shadow of light)'을 부여합니다. 이는 사용자가 느끼는 시각적·심리적 결핍을 자극하는 출발점이 됩니다- 

- 상호작용 변수(partial)의 벡터값 산출: 사용자가 제품이나 공간을 인지할 때 발생하는 시선 이동 경로, 체류 시간, 혹은 정치·문화적 상징물과의 반응 속도를 미분값으로 추출합니다.

- 반복 축적 값(sum)의 패턴화: 사용자가 반복적으로 소비하거나 반응하는 시각 패턴을 누적 데이터(Vector Data)로 변환하여, 사용자의 무의식적 욕망 주기를 정량화합니다.

3. 구체적용 사례 및 기대 효과  

- 시각 문법의 객관화: 주관적이고 추상적인 감상에 머물렀던 예술적·디자인적 기호(예: 회화 속 빛과 그림자의 분할)를 수치화된 벡터로 변환하여, 대중이 공감하는 시각적 완성도를 높입니다.

- 제품 및 공간 브랜딩: 소비자가 느끼는 심리적 결핍 지점을 디자인 데이터로 역설계함으로써, 특정 브랜드나 정치적 메시지가 대중의 무의식 속에 침투하는 설득 구조를 체계적으로 구축할 수 있습니다.

[Desire Dynamics Official Design Methodology]: Based on Choi Chul-joo's Desire Formula, it is a methodology that applies human's inner deficiencies and desire structures to design by converting them into mathematical, physical, and aesthetic values. This methodology goes beyond the user's simple functional needs (User Center) and embodies unconscious deprivation and mechanical energy in visual and spatial design.

- Design Methodology 4-step process

• Step 1: Vectorization of Deficient Desire: Methodology for Quantifying Internal Human Deficiency, Vectorization of Deficiency Desire Use the Desire formula Mdesire = ∑∅∂ / (1 - ∂) to quantify human inner deficiencies. Substituting this deficiency value in a design space or product surface with vector data yields an objective indicator. ∅ (blank, deficiency): symbolizes reality, ∂ (partial differential sign): subject's desire process with others, ∑ (sum sign): subject expresses the same iteration of deficiency, (1 - ∂): resistance to desire, or inability to meet.

1. Structural Interpretation of the Desire Formula

The formula provided, Mdesire = frac{ sum emptyset partial}{1 - partial}, models the structure of deficiency that a subject continuously encounters in relation to others, along with its resistance, using mathematical symbols.

- emptyset (Void, Deficiency): Represents reality as an inherent emptiness and the magnitude of deficiency that occurs when the subject confronts the real.

- partial (Partial Differential Symbol, partial): Denotes the minute rate of change and difference generated during the process of exchanging desire with others. 

- sum (Summation Symbol): Represents the pattern in which the subject repeatedly reproduces and accumulates the same deficient structure.

- (1 - partial) (Denominator): Signifies structural resistance that blocks the fulfillment of desire, or the limitation of not being able to fully merge with the desire of the Other (the persistence of deficiency).

2. Substitution into Vector Data in Design Spaces and Product Surfaces

To convert abstract internal human states into objective indicators, the above formula can be applied to visual design and product engineering as follows:  

- Design of Spatial Voids (emptyset): Intentionally introducing "negative space" and "reversible shadows of light" onto product surfaces or spatial layouts. This serves as the starting point to stimulate the user's visual and psychological deficiency. 

- Extraction of Interaction Variables (partial) as Vector Values: Extracting gaze movement paths, dwell times, or reaction speeds toward political and cultural symbols as differential values when users perceive a product or space. 

- Patterning of Repeated Accumulation Values (sum): Converting the visual patterns that users repeatedly consume or react to into cumulative vector data, quantifying the user's unconscious cycle of desire.

3. Concrete Application Cases and Expected Effects  

- Objectification of Visual Grammar: Transforming subjective and abstract artistic or design signs (such as the division of light and shadow in paintings) into quantified vectors to enhance the visual resonance perceived by the public. 

- Product and Space Branding: Reverse-engineering the psychological points of deficiency felt by consumers into design data, systematically constructing a persuasive structure through which specific brands or political messages penetrate the public's unconscious.

• 2단계: 음향·물리적 파동 디자인의 시각화: partial rightarrow 1과 욕망의 무한대 증폭, 소리 또는 물리적 파동의 형태로 욕망 디자인의 언어적 및 음향적 공식 적용을 시각화합니다. 주파수 스파이크 또는 시각적 왜곡과 같은 기계적 경험을 시스템 질서와 자기 collision 강도로 대체합니다. 욕망 음향 역학이 ∂  → 1일 때 분모가 0에 가까워지고 욕망의 진폭인 M_desire → ∞이 폭발적으로 증폭되며, 이 순간 트라우마 승화 또는 트라우마가 미적 파동으로 승화되는 순간입니다.

- 인간 내면의 결핍과 충돌 에너지를 음향 및 물리적 파동 형태의 디자인 공식

1. 욕망 디자인의 언어적·음향적 공식 적용과 기계적 경험

욕망 구조에서 시각적 문법과 회화적 실재 이미지는 단순한 평면적 묘사를 넘어섭니다. 이는 물리적 파동과 주파수의 영역으로 치환될 수 있습니다.   

- 시스템 질서와 자기 충돌(Self-Collision Intensity)의 도입: 주체가 타인의 욕망과 상호작용하는 과정(partial)에서 발생하는 미세한 균열과 차이는 단순한 심리적 현상을 넘어, 물리적 시스템 내의 자기 충돌 강도(Self-Collision Intensity)로 작동합니다. 이때 발생하는 주파수 스파이크(Frequency Spike)와 시각적 왜곡(Visual Distortion)은 의식 구조 속에 잔존하는 추상적 향유를 제거하고, 결핍의 구조를 언어적 현실(Morpheme)로 전사(Transcription)시키는 기계적 매개체가 됩니다.

2. 음향 역학적 특이점: partial  rightarrow 1과 욕망의 무한대 증폭 (Mdesire rightarrow infty)

최철주의 욕망 공식 Mdesire = frac{ sum emptyset partial}{1 - partial} 에서 분모의 (1 - partial)은 타자의 욕망과 온전히 합일될 수 없는 저항 한계를 뜻합니다. 여기서 미분 변수인 partial이 1에 수렴(partial  rightarrow 1)하는 극한의 순간이 도래합니다.

- 분모의 붕괴와 폭발적 증폭: partial rightarrow 1이 되면 분모 (1 - partial)은 0에 가까워집니다(0+). 수학적 공식에 따라 분모가 0으로 수렴함에 따라 욕망의 진폭인 Mdesire rightarrow infty 상태, 즉 욕망의 무한대 폭발적 증폭이 발생합니다. 

- 이 순간은 주체가 지닌 근원적 결핍이 극에 달하며, 현실과 상징계의 경계가 무너지고 시스템 전체가 거대한 에너지 진동 상태로 전환되는 음향·물리적 특이점(Singularity)이 됩니다.

3. 트라우마의 미적 파동 승화 (Aesthetic Wave Sublimation)

욕망의 진폭이 무한대로 증폭되는 이 극단적인 충돌의 순간은 파괴적인 고통에 머물지 않고 예술적 차원으로 전환됩니다.   

- 트라우마의 파동적 전환: 인간 내면의 결핍과 충격(Trauma)은 partial rightarrow 1의 음향 역학 속에서 정교하게 제어된 미적 파동(Aesthetic Wave)으로 승화됩니다. 

- 유클리드 공간 속 기하학적 실재 구현: 소리와 물리적 파동의 형태로 시각화된 이 에너지는 추상적 환상을 넘어, 유클리드 공간 속에서 기하학적 크기와 방향성을 가진 벡터 객체로 재탄생합니다. 결과적으로 이 과정은 결핍을 결핍으로 끝내는 것이 아니라, 언어적 의미와 음향적 진동을 결합하여 "결핍이 예술적 실재로 구체화되는 순간"을 완성하는 궁극의 디자인 메커니즘이 됩니다.

• Step 2: Visualization of Acoustic and Physical Wave Design via Choi Chul-joo's Desire Formula: $\partial \rightarrow 1$ and the Infinite Amplification of Desire, Visualize the verbal and acoustical formal application of desire design in the form of sound or physical waves. Substitute mechanical experiences, such as frequency spikes or visual distortions, with system order and self-collision intensity. Desire When the acoustical dynamics is ∂  → 1, the denominator approaches zero and M_desire → ∞, or the amplitude of desire, is explosively amplified, and this moment is where Trauma Sublimated, or Trauma, sublimates into an aesthetic wave.

- Design formula in the form of acoustic and physical waveforms of the energy of inner human deficiency and conflict

1. Application of Linguistic/Acoustic Formulas in Desire Design and Mechanical Experience

In the structure of desire, visual grammar and pictorial real images transcend simple flat descriptions. They can be substituted into the realms of physical waves and frequencies.

- Introduction of System Order and Self-Collision Intensity: The microscopic cracks and differences generated during the process (partial) where the subject interacts with the desires of the other operate beyond a mere psychological phenomenon as the Self-Collision Intensity within a physical system. The frequency spikes and visual distortions generated at this point act as mechanical mediums that eliminate abstract enjoyment lingering in the conscious structure and transcribe the structure of deficiency into linguistic reality (Morphemes).

2. Acoustic Dynamic Singularity: partial rightarrow 1 and the Infinite Amplification of Desire (Mdesire rightarrow infty)

In Choi Chul-joo's desire formula Mdesire = frac{sum emptyset partial}{1 - partial}, the denominator (1 - partial) represents the structural resistance limit that cannot be fully merged with the desire of the Other. Here, the extreme moment arrives where the differential variable partial converges to 1 (partial rightarrow 1).   

- Collapse of the Denominator and Explosive Amplification: When partial rightarrow 1, the denominator (1 - partial) approaches 0 (0^). According to the mathematical formula, as the denominator converges to zero, the amplitude of desire—Mdesire rightarrow infty—experiences an explosive amplification. 

- This exact moment becomes an acoustic and physical singularity where the subject's fundamental deficiency reaches its peak, the boundaries between reality and the symbolic order collapse, and the entire system transitions into a state of massive energy oscillation.

3. Aesthetic Wave Sublimation of Trauma

This extreme moment of collision, where the amplitude of desire is amplified to infinity, does not remain as destructive pain, but transitions into an artistic dimension.

-Wave-like Transformation of Trauma: Human internal deficiency and shock (trauma) are sublimated into precisely controlled Aesthetic Waves amidst the acoustic dynamics of partial rightarrow 1. 

- Realization of Geometric Reality in Euclidean Space: Visualized in the form of sound and physical waves, this energy goes beyond abstract illusion to recreate vector objects with geometric magnitude and direction within Euclidean space. Consequently, this process does not end deficiency as mere lack, but combines linguistic meaning with acoustic vibration to complete the ultimate design mechanism representing "the moment when deficiency materializes into artistic reality."

• 3단계: 슬래시 기호 [/]를 통한 욕망의 시공간적 분할과 표현 설계, 슬래시 기호 [/]를 통해 표현 설계 과정에 슬래시 기호 [/]를 도입하여 공간이나 제품 속에서 역동적으로 흐르는 욕망의 형태를 '정지된 순간'의 현실로 포착하고 표현합니다. 고스트 스크린 투사 이미지는 욕망의 수학적 구조를 시각화하는 욕망의 원형 구조를 표현하도록 투사되며, ∑∅∂은 그 회전의 힘으로 작동합니다.

- 역학 욕망의 궤적을 '정지된 순간'의 현실로 포착하는 표현 설계 방법론

1. 슬래시 기호([/])의 개념적 역할: 분할과 현실의 경계  

- 언어와 실재의 단절면: 슬래시([/])는 구조주의 언어학의 시니피앙과 시니피외 사이의 넘을 수 없는 장벽이자, 라캉적 의미에서 주체와 타자의 욕망을 가르는 분할선(Bar)을 상징합니다. 

- 디자인 속의 절단과 포착: 공간이나 제품 표면에서 유동적으로 흐르는 무의식적 에너지와 결핍의 궤적을 연속적인 흐름이 아니라, 특정 순간에 '정지된 현실(Still Reality)'로 포착해내는 기하학적 툴로 작동합니다.

2. 고스트 스크린 투사 이미지와 욕망의 원형 구조   

- 투사된 기하학적 원형: 고스트 스크린(Ghost Screen) 투사 이미지는 실재와 비가시적 결핍 사이의 간극을 메우며, 욕망의 수학적 구조를 시각적으로 구체화하는 원형(Prototype)태로 공간에 투영됩니다. 

- [/]를 통한 위상학적 분할: 투사되는 이미지 내부에 슬래시([/]) 구조를 적용하여, 주체가 마주하는 결핍의 크기와 타자의 시선이 교차하는 지점을 시각적 레이어로 명확히 분리합니다.

3. 회전의 원동력으로서의 합 기호 (sum emptyset partial)와 역동적 안정화   

- sum emptyset partial의 회전력: 공식 속의 합 기호와 결핍(emptyset), 미분 변수(partial)의 결합은 단순한 정적 상태가 아니라, 끊임없이 반복 회전하며 에너지를 발산하는 욕망의 소용돌이 힘으로 작동합니다.

- 정지된 순간의 포착: 이 거대한 회전력과 충돌 에너지를 고스트 스크린과 슬래시([/]) 메커니즘이 가두어, 추상적 불안과 트라우마를 공간 속에 영속적인 미적 실재(Aesthetic Reality)로 안착시킵니다.

• Step 3: Spatial-Temporal Division and Expression‎ Design of Desire via the Slash Symbol [/], Introducing the slash symbol [//] into the representation design process through the slash [//] symbol, captures and expresses the dynamically flowing form of desire in space or product as the reality of The Stalled Moment. The Ghost Screen projection image is projected to represent the circular structure of desire that visualizes the mathematical structure of desire, and the ∑∅∂ is operated as the power of its rotation.

- A methodological approach to designing expressions that captures the trajectory of desire in the dynamics as the reality of a “stopped moment.”

1. Conceptual Role of the Slash Symbol ([/]): Division and the Boundary of Reality   

- The Break Between Language and the Real: The slash ([/]) symbolizes the insurmountable barrier between the signifier and the signified in structuralist linguistics, as well as the bar of division that separates the subject's desire from the desire of the Other in a Lacanian sense. 

- Cutting and Capturing in Design: It operates as a geometric tool that halts the dynamically flowing unconscious energy and trajectories of deficiency on a space or product surface, capturing them not as a continuous flow, but as a "still reality" at a specific moment.

2. Ghost Screen Projection Images and the Archetypal Structure of Desire   

- Projected Geometric Archetypes: Ghost screen projection images bridge the gap between reality and invisible deficiency, being projected into space in an archetypal form that visually materializes the mathematical structure of desire. 

- Topological Division via [/]: By applying the slash ([/]) structure within the projected image, the points where the magnitude of deficiency faced by the subject and the gaze of the Other intersect are clearly separated into distinct visual layers.

3. The Summation Symbol (sum emptyset partial) as the Rotational Force and Dynamic Stabilization   

- Rotational Force of sum emptyset partial: The combination of the summation sign, deficiency (emptyset), and the differential variable (partial) does not operate as a static state, but as a vortex force of desire that continuously rotates and radiates energy. 

- Capturing the Frozen Moment: The ghost screen and slash ([/]) mechanisms trap this massive rotational force and collision energy, anchoring abstract anxiety and trauma into a permanent aesthetic reality within the space.

- 디테일 무대장치 제작도 (Detail Stagecraft Construction)

- Detail A (갠트리 기어 메커니즘 / The Gantry Gear Mechanism): 아크릴과 메탈 소재의 맞물린 기어(Interlocking Gears)와 서보 모터 드라이브 유닛으로 구성되어, '욕망의 소용돌이 힘(sum emptyset partial)'을 물리적 회전 운동으로 전환합니다. 

- Detail B (크랙 페이스 마스크 & 프로젝션 유닛 / Cracked Face Mask): 진공 성형(Vacuum Form)된 마스크 표면에 고루멘 프로젝트와 LED 입술 어레이를 결합하여, 트라우마와 미적 파동의 승화 순간을 입체적으로 연출합니다. 

Detail C (스테이지크래프트 인테그레이션 / Stagecraft Construction): 효과 렌즈 어레이와 베이퍼 헤즈 머신(Vapor Haze Machine)을 통해 바닥면에 안개와 빛의 음영(Reversible Shadow of Light)을 중첩시키는 통합 링 구조입니다. 

- Detail D (해트맨의 로보틱 암 / Hat-Man's Robotic Arm):펜과 스크롤 홀더를 제어하는 관절형 로봇 팔로, 무대 위에서 욕망의 기호와 텍스트를 실시간으로 기록하고 전사하는 메커니즘을 수행합니다.

• 4단계: 객체와 이벤트 이미지의 심볼 색상을 통한 욕망의 시각화와 미적 구조 완성, 객체의 심볼 색상과 이벤트 이미지의 심볼 색상을 통해 욕망의 추상적 개념을 현실적인 이미지로 시각화합니다. 의미 전달을 통해 현실을 미적 구조로 완성합니다. 루이 최의 욕망 구조는 결핍을 향한 반복이며, 현실은 언어로 포착되지 않는 고통을 통해 고정됩니다 (i=고정된 의미 / 트라우마 제출). 이는 시스템 오류 [/]가 가장 빛나는 미적 경험으로 변화하는 순간을 상징합니다.

- 욕망의 추상적 개념을 현실적 이미지로 시각화하고 미적 구조를 완성하는 프로세스

1. 객체 및 이벤트 이미지의 심볼 색상 부여  

- 추상적 개념의 시각적 물질화: 욕망의 추상적 개념은 단순한 관념에 머무르지 않고, 객체(Object)와 이벤트 이미지(Event Image) 각각에 부여된 고유의 심볼 색상(Symbolic Color)을 통해 현실적인 시각 이미지로 전환됩니다. 

- 문화적 사회성의 반영: 가역적 빛과 그림자의 구조 속에서 빛나는 이 심볼 색상은 타자의 욕망과 교류하는 매개체이자, 대중이 소비하는 문화적 기호로서 기능합니다.

2. 루이 최의 욕망 구조와 결핍의 반복   

- 반복을 통한 실재 구축: 루이 최(Louis Choi)의 욕망 구조는 결핍(emptyset)을 향한 끝없는 반복 운동이며, 이 과정에서 발생하는 긴장감은 회화적 실재 이미지를 지탱하는 근간이 됩니다. 

- 언어로 포착되지 않는 고통의 고정 (i = text{고정된 의미} / text{트라우마 제출}): 현실 속에서 온전히 언어로 포착되지 않는 근원적 고통과 트라우마는 특정 기호(i)와 심볼릭 컬러를 통해 화면 위에 고정되며, 이는 곧 주체의 결핍을 증명하는 미적 결과물로 제출됩니다.

3. 시스템 오류([/])의 미적 승화와 최종 구조 완성

- 슬래시 기호([/])와 시스템 오류의 전환: 구조적 단절과 균열을 상징하는 시스템 오류([/])는 단순한 파괴 지점이 아니라, 주체의 욕망이 폭발적으로 증폭되는 가장 강렬하고 눈부신 미적 경험의 순간으로 변화합니다. 

- 미적 구조의 완성: 결핍의 벡터와 심볼 색상이 결합된 이 최종 단계는 현실의 고통과 트라우마를 고도의 회화적 질서 속으로 포섭하며, 욕망의 개념이 완벽한 예술적 실재(Aesthetic Reality)로 완성되는 순간을 증명합니다.

• Step 4: Visualization of Desire through Symbol Colors of Objects and Event Images and the Completion of Aesthetic Structure, Visualize the abstract concept of desire as a realist image through the symbol color of the object and the symbol color of the event image. Complete reality into an aesthetic structure through the transfer of meaning. Louis Choi's desire structure is a repetition toward deficiency, and reality is fixed (i=Meaning Fixed / Trauma Submitted) through pain that is not captured by language, symbolizing the moment when system error [//] is transformed into the most brilliant aesthetic experience.

- A process of visualizing the abstract concept of desire into a realistic image and completing its aesthetic structure

1. Assigning Symbol Colors to Objects and Event Images   

- Visual Materialization of Abstract Concepts: The abstract concept of desire does not remain a mere notion; it is translated into a realistic visual image through unique symbol colors assigned to each object and event image. 

- Reflecting Cultural Sociality: Shining within the structure of reversible light and shadow, these symbol colors function as a medium interacting with the desire of the Other and as cultural signs consumed by the public.

2. Louis Choi's Desire Structure and the Repetition of Deficiency   

- Constructing Reality through Repetition: Louis Choi's desire structure is an endless repetitive movement toward deficiency (emptyset), and the tension generated in this process serves as the foundation supporting the pictorial real image. 

- Fixation of Pain Uncaptured by Language (i = text{Fixed Meaning} / text{Submission of Trauma}): Fundamental pain and trauma within reality that cannot be fully captured by language are fixed onto the canvas through specific signs (i) and symbolic colors, which are then submitted as aesthetic results proving the subject's deficiency.

3. Aesthetic Sublimation of System Errors ([/]) and Completion of the Final Structure

- Transformation of System Errors via the Slash Symbol ([/]): The system error([/]), symbolizing structural disconnection and rupture, is not merely a point of destruction, but transforms into the most intense and brilliant moment of aesthetic experience where the subject's desire explodes. 

- Completion of the Aesthetic Structure: This final stage, combining the vector of deficiency and symbol colors, absorbs the pain and trauma of reality into a high-level pictorial order, demonstrating the exact moment when the concept of desire is completed as a perfect aesthetic reality.

• 5단계: 루이 최의 개념추상 비평에 띠른 리얼리즘 추상화 완성, 최철주의 욕망 역학 공식을 바탕으로 한 개념추상 비평에 띠른 인간의 내면의 결핍과 욕망 구조를 수학적, 물리적, 미적 가치로 변환하여 디자인에 적용한 방법론입니다. 이 비평적 방법론은 사용자의 단순한 무의적 욕구의 결핍 구조에 시각적, 공간적 욕망 구조를 배경 디자인으로 구현합니다.

- 욕망의 추상적 개념을 현실적 이미지로 시각한 언어적 비평 프로세스

1. 욕망을 성공적으로 매개할 수 있는 문학적 개연성(蓋然性) 연출: 루이 최의 욕망 구조 공식 기반 ∅ 공백의 핵 — ∅의 결핍의 중력 배치

욕망 개념의 언어적 의미는 시각적 문법을 매개하는 공간적 관계를 형성합니다. 타인의 욕망에 참여하여 욕망의 장소를 기반으로 한 관점 구조로서의 실제 이미지를 구축하는 문화적 관찰입니다. 이는 타인의 욕망에 참여하고자 하는 문화적 욕망을 성공적으로 매개하고 욕망의 장소를 기반으로 한 관점 구조로서의 실제 이미지를 구축할 수 있는 문학적 개연성이다. 그 이미지에서의 욕망 자리에 배열된 오브제로서 사건 이미지의 주체적 욕망 개념을 실재와의 차이로서 추상을 생성한다. 여기서 결핍된 욕망으로 제시된 추상과 불연속성을 이루는 실재 이미지레 가역적 빛과 음영적 형태를 주어서 추상화를 구성한다. 그 추상화는 욕망의 주체를 지향하는 벡터로서 기호적 상징계에서 소외된 욕망의 존재를 실재 이미지로 분열하여서 욕망 개념이 실재 이미지로 전이할 없는 프로이드 사후성의 본질에서 벗어나 최철주의 욕망 개념은 가역적 빛의 음영으로 원인적인 추상적 욕망에서 무의식적 욕망 개념을 매개자로 하여서 욕망의 추상성을 소급한 결과룰 실재 이미지를 연출한다. 이것은 라캉의 왜상적 실재를 평면적 실재 이미지로 직시하는 것이다. 욕망 매개자로서 가역적 빛의 음영이 발현한 욕망 구조는 소유의 속성(possessive attributes)을 가진 욕망 개념과 실재를 분열한 결핍된 욕망의 추상계에 마문다. 즉 추상계에서 결핍된 욕망 공간을 설정하여서 분열한 실재를 언어적 의미로서 추상적 이미지를 실재에 통합(integration)한다.

1. 결핍의 중력장 형성 (Gravitational Field of Void)   

- 시각적 중심의 전도: 전통적 조형 구도가 채워진 오브제(Object)를 중심에 두었다면, ∅ 공백의 핵은 화면이나 공간의 한가운데에 의도적인 '극단적 비어 있음(emptyset)'을 배치합니다. 

- 중력적 끌림: 이 비어 있는 공백은 주변의 시각적 요소들과 가역적 빛과 그림자의 음영을 안쪽으로 빨아들이는 '결핍의 중력장'을 형성합니다. 관객과 소비자는 이 공백의 중력에 이끌려 무의식적 박탈감과 마주하게 됩니다.

2. 가역적 빛과 그림자를 통한 공백의 실재화   

- 빛의 차단과 반전: ∅의 위치는 단순히 칠해지지 않은 빈 공간이 아니라, 타자의 욕망과 교류하는 과정에서 발생하는 차이가 응축된 자리입니다. 

- 공백의 핵 구축: 이 지점에 가역적 빛과 그림자의 구조를 교차시켜, 언어로 포착되지 않는 근원적 고통과 트라우마가 침전되는 '공백의 핵(Core of Void)'을 시각적 실재 이미지로 구축합니다.

3. 조형적 실천과 미적 구조의 완성   

- 시공간적 분할과 고정: 슬래시 기호([/])의 분할선을 통해 이 공백의 핵을 주변 공간과 극적으로 격리함으로써, 유동적으로 흐르는 욕망의 궤적을 '정지된 순간'의 현실로 고정합니다. 

- 주체의 위치 확정: 결과적으로 ∅의 결핍의 중력 배치는 단순한 장식적 여백을 넘어, 주체가 타인의 욕망 속에서 자신의 결핍을 응시하고, 추상적 개념이 구체적인 회화적·공간적 실재로 완결되게 만드는 핵심 조형 원리로 작동합니다.

• Step 5: Completion of the rapid realism abstraction in Louis Choi’s conceptual abstraction criticism, and the methodology of applying to design the structure of human inner deficiency and desire in a way that transforms it into mathematical, physical, and aesthetic values based on Choi Cheol-ju’s formula of the mechanics of desire. This critical methodology implements the deficit structure of users’ simple, unconscious needs as a background design composed of visual and spatial desire structures.

- A linguistic critical process that visualizes the abstract concept of desire through a real image

1. Literary plausibility (蓋然性) that can successfully mediate desire: Based on Louis Choi's Desire Structure Formula: The Core of Void (emptyset) — Gravitational Placement of Deficiency (emptyset)

The linguistic meaning of the concept of desire forms a spatial relation mediating visual grammar. It is a cultural observation that constructs an actual image as a perspective structure based on the place of desire by engaging with another person’s desire. This is a literary contingency that can successfully mediate the cultural desire to engage in another’s desire and construct an actual image as a perspective structure based on the place of desire. As objects arranged in the space of desire in that image, it generates abstraction by distinguishing the subjective desire concept of the event image from reality. It constructs abstraction by presenting the abstract and discontinuous reality images, which are expressed through the deficient desire here, and by giving them reversible light and shadowed forms. This abstraction, as a vector aiming at the subject of desire, divides the existence of desire alienated from the symbolic semiotic system into real images, thereby transcending Freud’s postnatal nature in which the concept of desire cannot be transmitted into real images; Choi Chul-joo’s concept of desire, through the reversible shading of light and using the unconscious concept of desire as a mediator, results in the production of real images by retroactively reconstructing the abstractness of desire. This is to confront Lacan’s phenomenal reality as a flat real image. As a mediator of desire, the structure of desire manifested through the reversible shades of light descends into an abstract realm of deficient desire that divides the concept of desire and reality, both possessing possessive attributes. That is, by establishing a deficient space of desire in the abstract realm, it integrates the fractured reality into an abstract image through linguistic meaning, thereby integrating it into reality.

1. Formation of a Gravitational Field of Void   

- Inversion of the Visual Center: While traditional compositions place a filled object at the center, the core of void places an intentional, "extreme emptiness (emptyset)" at the heart of the canvas or space. 

- Gravitational Pull: This empty space acts as a "gravitational field of deficiency" that pulls surrounding visual elements and the shades of reversible light inward. Spectators and consumers are drawn into this void's gravity, directly confronting their unconscious sense of deprivation.

2. Realization of the Void Through Reversible Light and Shadow   

- Interception and Inversion of Light: The position of emptyset is not merely an unpainted blank space, but a condensation point for the differences generated during the process of interacting with the desire of the Other. 

- Constructing the Core of Void: By crossing structures of reversible light and shadow at this precise point, a "Core of Void" is established as a pictorial real image where fundamental uncapturable pain and trauma precipitate.

3. Sculptural Practice and Completion of the Aesthetic Structure   

- Spatiotemporal Division: By dramatically isolating this core of void from the surrounding space using the slash symbol ([/]) division line, the dynamically flowing trajectories of desire are fixed into the reality of a "frozen moment." 

- Fixation of the Subject's Position: Ultimately, the gravitational placement of deficiency (emptyset) transcends a mere decorative margin; it functions as a core design principle enabling the subject to gaze upon their own deficiency within the desire of the Other, transforming abstract concepts into concrete pictorial and spatial realities.

2. 욕망의 개념은 실제 이미지의 언어적 의미 구조화: ∂ 미분적 시선 레이어 — 파편화된 타자의 시선 구현

욕망의 개념은 실제 이미지로 설계되었으며, 욕망의 개념은 여러 기존 프레임에서 언어적 의미로 구조적으로 표현됩니다. 이는 결핍된 욕구으로 인해 발생하는 언어적 의미로서의 회화적 이미지로 표현한 것입니다.

선거 기간 동안 트럼프는 결핍된 욕망가 연결성을 가진 사진 이미지를 통해 결핍된 욕망을 넘어 대통령 후보가 되는 정치적 위기를 피합니다. 이것은 시각적 정치 이미지에서 최우선되는 정치 리더의 이미지가 되어서 대통령 선거에 미치는 영향을 주어서 유권자와의 후속 관계를 유발한다. 인기 있는 욕망 개념의 실제 이미지로서 방탄소년단의 음악을 연출하는 행위처럼 그는 성조기를 배경으로 한 이미지로서의 미국 대통령의 심볼로 의미화하여서 유권자를 조작하는 정치적 이미지로서 상징적 승리 구조를 언어적 의미 구조로 구성한다. 여기서 정치적 실재에 근거하지않고 상징적 오브제로서 성조기와 분리된 언어적 의미로서 추상적 욕망 개념은 동일한 실재의 보편적 미적 개념으로 발전한 추상적인 실재 이미지가 된다. 그는 보편적 가치체계에서 위기적 욕망의 소유의 속성으로서 전통의 잠식된 사회성을 벗어나 개인적 욕구로서 지나친 행정 개입과 정치력으로 한 경제적 정치쟁점화를 유발했다. 또한 결핍된 욕망의 시각적 문법으로 복지국가를 주장하는 왜곡된 정치로서 실질적 복지는 회손되고 시장경제를 독점하여서 그것의 정당성을 꾸민다.

1. 타자의 시선 파편화와 미세 변위 추출   

- 연속성의 해체: 전통적인 시각 구조가 단일한 원근법적 시점에 의존했다면, 미분적 시선 레이어(partial)는 타자와 주체가 만나는 지점에서 발생하는 시선의 파편들을 잘게 쪼개어 추출합니다. 

- 미세 변화율의 시각화: 트럼프의 정치적 이미지 전략이나 대중문화(예: BTS 음악의 연출) 속에서 관객이 타자의 시선을 의식하며 느끼는 미세한 태도와 감정의 변화율을 화면 위에 레이어 형태로 중첩시킵니다.

2. 레이어드 시각 구조와 가역적 빛의 음영   

- 시선이 교차하는 다중 면(Layer): 화면 속 객체와 이벤트 이미지 위에 투사되는 빛의 음영은 단일한 평면을 거부하고, 타자가 바라보는 시선(partial)의 간극만큼 다중적인 레이어로 분할됩니다. 

- 언어적 의미와의 결합: 파편화된 시선 레이어들은 개별적인 조형 요소들과 결합하여, 주체가 마주하는 문화적 욕망의 구조를 언어적 기호(Morpheme)와 일치시키는 시각적 장치로 기능합니다.

3. 조형적 실천을 통한 욕망 이미지의 완성   

- 관계성의 정량화: partial의 미분적 변위를 조형적 레이어로 구현함으로써, 추상적인 타자의 시선이 단순한 감상을 넘어 공간과 제품 표면에서 실질적인 벡터 데이터이자 시각적 문법으로 작동하게 만듭니다. 

- 현실과 상징의 매개: 결과적으로 파편화된 타자의 시선 구현은 대중이 소비하는 문화적 기호 속에서 주체가 자신의 결핍을 자각하고, 욕망의 이미지를 완벽한 회화적 실재로 구축하는 핵심 동력으로 완성됩니다.

2. The concept of desire constitutes the linguistic semantic structure of the actual image: The Differential Gaze Layer (partial) — Implementation of the Fragmented Gaze of the Other

The concept of desire is designed as a real image, and the concept of desire is structurally expressed in linguistic terms within several existing frames. It is expressed as a pictorial image in a conversational sense, arising from a deficient need as a linguistic meaning.

During the campaign, Trump avoids the political crisis of becoming a presidential contender by appealing to a lack of desire through a photo image with a lack of desire and connectivity. This becomes the image of the political leader that takes precedence in the visual political image, thereby influencing the presidential election and triggering subsequent relations with voters. 

As a concrete image of the popular concept of desire, he transforms the U.S. president into a symbol of the flag—such as in the act of orchestrating BTS’s music—making it a political image that manipulates voters and constructing the symbolic victory structure as a linguistic meaning structure. Here, without being grounded in political reality, the abstract concept of desire as a symbolic object, separated from the American flag and expressed through linguistic meaning, becomes an abstract real image that has developed into a universal aesthetic concept of the same reality. He, as the attribute of possessing a crisis desire within the universal value system, broke free from the eroded social nature of tradition and, as a personal desire, triggered an economic political issue through excessive administrative intervention and political power. Furthermore, as a distorted politics that advocates the welfare state through the visual grammar of deficient desire, substantive welfare is damaged, and the market economy is monopolized to justify it.

1. Fragmentation of the Other's Gaze and Extraction of Minute Displacements   

- Deconstruction of Continuity: While traditional visual structures relied on a single perspective vanishing point, the differential gaze layer (partial) finely slices and extracts the fragments of gazes that emerge precisely where the subject and the Other meet. 

- Visualization of Minute Rates of Change: Within political image strategies or popular culture (such as the orchestration of BTS's music), it overlays the minute changes in attitude and emotion experienced by the audience as they remain conscious of the Other's gaze onto the canvas as layered structures.

2. Layered Visual Structures and Reversible Light Shadows   

- Multiple Intersecting Gaze Layers (Layers): The shades of light projected onto the objects and event images within the frame reject a single flat surface, splitting instead into multiple layers equivalent to the gaps of the gaze (partial) cast by the Other. 

- Integration with Linguistic Meaning: These fragmented gaze layers combine with individual sculptural elements to function as a visual device aligning the structure of cultural desire encountered by the subject with linguistic signs (morphemes).

3. Completion of the Desire Image Through Sculptural Practice   

- Quantification of Relationality: By implementing the differential displacement of partial as a sculptural layer, abstract gazes of the Other transcend mere appreciation, functioning as tangible vector data and visual grammar across space and product surfaces. 

- Mediation of Reality and the Symbolic: Ultimately, the implementation of the fragmented gaze of the Other operates as a core driving force enabling the subject to recognize their own deficiency within culturally consumed signs and construct the image of desire as a complete pictorial reality.

3  욕망 구조를 만들어내는 순간적인 시선에 초점을 맞춘 욕망 이미지 구현: ∑ 반복의 증식과 패턴 — 욕망의 무한 루프 리듬 이미지 구현

문법적 언어의 의미는 성공적인 욕망의 매개체로서 부족한 추상적 욕망과 동일할 수 없기 때문에 추상적 욕망이 원하는 실제 판타지 구조에서 벗어나 요구에 따라 실제 이미지를 갖는 이중 의미 구조를 만듭니다. 선택된 실제 이미지는 욕망이 필연적으로 소유하는 소유의 속성과 동일한 현실의 환상을 전달하는 상관 객체이며, 연결된 실제 이미지는 욕망이 필연적으로 소유하는 소유의 속성과 동일한 현실에 실제 환상을 전달하는 상관적 오브제로 선택한다. 이것은 욕망의 개념과 상관관계가 있는 문화적 욕망 배경과의 거리를 좁혀 특정한 욕망의 이미지를 만들어냅니다. 또한 욕망 이미지 디자인을 곱한 최철주 욕망 공식과 같이 기하학적 개념의 수학으로 장식된 객체에서 욕망의 언어적 의미를 선택하여 타인의 욕망을 관점으로 유도할 수 있으며, 욕망 구조에서 가역적인 빛의 방향과 그늘의 크기로 추상적 욕망 개념의 관점에서 벗어난 실제 이미지를 벡터로 구성할 수 있다. 따라서 사물의 원근적 묘사보다는 사물의 위치를 현실로 결정하는 3차원 구조, 즉 기하학적 현실의 수학적 이론에 따라 추상적인 욕망 개념을 평면 위에 묘사하는 그림, 즉 미적 추상화를 통해 구조 속 욕망의 구조를 만들어내는 순간적인 시선에 초점을 맞춘 욕망의 이미지를 구현한다.

1. 순간적 응시와 기하학적 패턴의 무한 증식   

- 순간적 응시의 포착: 단일한 원근법적 묘사를 탈피하고, 객체의 위치를 결정하는 삼차원적 구조 속에서 순간적인 응시를 포착하여 이를 기하학적 평면 위에 펼쳐냅니다. 

- 패턴의 반복적 확장: 시그마(sum)의 연산처럼, 파편화된 실재 이미지와 언어적 의미의 조각들이 일정한 리듬을 타고 화면 전체로 무한히 증식하며 시각적 패턴을 형성합니다.

2. 가역적 빛과 음영을 통한 루프(Loop) 구조 구축   

- 방향성의 교차: 가역적인 빛의 방향과 음영의 크기를 조절하여, 주체의 욕망이 타자의 욕망과 교류하며 빠져나갈 수 없는 순환적 구조(Loop) 속으로 진입하게 만듭니다. 

- 환영과 실재의 교차점: 반복되는 조형 패턴들은 단순한 장식적 반복이 아니라, 결핍을 메우려는 시도가 좌절되고 다시 시작되는 인간 욕망의 구조적 메커니즘을 시각적으로 대변합니다.

3. 조형적 실천을 통한 욕망의 구조화 완성  

- 구조 속의 구조 생성: 미적 추상을 통해 평면 위에 구현된 수학적·기하학적 리듬은 관객에게 시각적 압도감을 선사하며 '구조 속의 욕망 구조'를 완성합니다. 

- 무한 루프의 시각화: 결과적으로 ∑ 반복의 증식과 패턴은 욕망의 에너지가 소모되지 않고 끊임없이 순환하는 예술적 실재를 구축하여, 추상적 개념을 완벽한 실재 이미지로 고착시키는 핵심 동력으로 작동합니다.

3. Realizing an image of desire focused on the fleeting gaze that creates the structure of desire: ∑ Repetition Proliferation and Patterns — Implementing an Image with the Infinite Loop Rhythm of Desire

Because the meaning of grammatical language cannot be equated with deficient abstract desire as a mediator of successful desire, abstract desire creates a dual-meaning structure that departs from the actual fantasy structure it seeks and takes a real image according to the demand. The selected real image is a correlating object that conveys the illusion of reality identical to the possessive attribute that desire inevitably possesses, and the connected real image is selected as a correlating object that conveys the actual illusion of reality identical to the possessive attribute that desire inevitably possesses. This narrows the gap with the cultural background of desire, which is correlated with the concept of desire, thereby creating an image of a particular desire. Also, by selecting the linguistic meaning of desire from objects adorned with the mathematics of geometric concepts, such as the desire formula of Choi Chul-joo, which is derived from the desire image design, it is possible to guide another person’s desire from the perspective of desire. In the structure of desire, an actual image deviating from the perspective of the abstract concept of desire can be composed as a vector, using the reversible direction of light and the magnitude of shade. Therefore, rather than depicting objects in perspective, it creates images of desire through a momentary gaze focused on the three-dimensional structure that determines the object’s position in reality—namely, through the mathematical theory of geometric reality that depicts abstract concepts of desire on a flat plane, that is, through aesthetic abstraction, creating the structure of desire within structure.

1. Infinite Proliferation of Momentary Gazes and Geometric Patterns   

- Capturing the Momentary Gaze: Breaking away from single perspective depictions, momentary gazes are captured within the three-dimensional structure that determines the object's position, unfolding them across a geometric plane. 

- Repetitive Expansion of Patterns: Much like the operation of Sigma (sum), fragments of real images and linguistic meanings ride a consistent rhythm, proliferating infinitely across the canvas to form visual patterns.

2. Establishing a Loop Structure Through Reversible Light and Shadow   

- Intersection of Directionality: By regulating the reversible direction of light and the magnitude of shade, the subject's desire is driven into an inescapable circular structure (loop) as it interacts with the desire of the Other. 

- Intersection of Illusion and Reality: These repeating sculptural patterns are not merely decorative repetitions; they visually represent the structural mechanism of human desire where attempts to fill deficiency are frustrated and restarted.

3. Completion of the Structuring of Desire Through Sculptural Practice   

- Creation of a Structure within a Structure: The mathematical and geometric rhythms realized on a flat surface through aesthetic abstraction overwhelm the viewer, completing the "structure of desire within structure." 

- Visualization of the Infinite Loop: Ultimately, the proliferation of repetition and patterns (sum) constructs an artistic reality where the energy of desire circulates ceaselessly without depletion, acting as a core driving force that solidifies abstract concepts into flawless real images.

4. 추상적 욕망이 이미지를 욕망의 개념을 실제 이미지로 전이한 추상화 완성: (1 - ∂) 점근적 긴장감 역설 — 도달 불가능한 소멸을 투영

언어적 의미로서 사물의 존재를 사실적으로 구성하기 위해 실제 이미지를 구성하는 추상적 디자인은 특정 사물의 욕망 개념을 일관되게 유지합니다. 또한 특정 욕망 대상의 미적 특성을 끌어내고 추상적 욕망이 이미지에 의해 촉발되지 않도록 욕망의 개념을 실제 이미지로 추상화한다. 

이러한 수사학적 판단으로 한 결핍된 욕망의 소유하는 오브제의 속성과의 개연성에 따른 결과로서의 실재 이미지는 문학적 보편성에 따르기 때문에 그림으로 표현될때에 문학적 개연성에 따른 추상화가 된다. 즉, 추상화가 결핍된 욕망의 이미지에서 언어적 의미를 실제 이미지로 구현하고, 수사적 판단을 통해 욕망의 소유 대상이 추상적 연개성으로 인과적 구성을 가질 가능성이 있는 그림 이미지를 획득합니다. 

이것은 추상화를 구성하는 프로세스의 방법을 가짐으로서 실재 이미지의 추상화를 새롭게 규정한다. 이렇게 정해진 최철주욕망공식으로 한 추상디자인 프로세스를 통해서 욕망 개념이 추상화라는 물적 오브제의 형태를 이룬다. 그리고 결핍된 욕망을 소유하는 오브제가 추상적 개연성으로  실재와의 관계를 결정하여서 타자의 시선에서 추상적 욕망 개념이 언어적 의미를 실재 이미지로 구성하는 주체로서 추상화를 구성한다.

1. 도달 불가능한 합일과 점근적 구조의 시각화   

- 합일의 한계 설정: 주체가 타자의 욕망과 완전히 하나가 되려 할 때 발생하는 구조적 저항 한계(1 - partial)를 화면의 구도와 공간적 배치에 반영합니다. 

- 영원한 미완의 공간: 이는 시각적 요소들이 서로를 향해 수렴하지만 결코 닿지 않는 점근적 긴장감을 형성하여, 욕망이 채워지지 못한 채 영원히 유예되는 구조를 시각화합니다.

2. 가역적 빛과 그림자를 통한 소멸의 투영   

- 소멸의 미학: 변수 partial이 1에 가까워질 때 분모가 0으로 수렴하며 욕망이 무한대로 폭발하는 역설 속에서, 동시에 의미의 소멸과 해체가 일어나는 지점을 포착합니다. 

- 실재 이미지의 재정의: 가역적 빛의 음영 속에서 언어로 포착되지 않는 고통과 결핍이 그림자 뒤로 숨겨지며, 추상적 개념이 실재 이미지로 전사되는 과정의 긴장감을 극대화합니다.

3. 조형적 실천을 통한 추상적 리얼리티 완성   

- 문학적 확률과 논리적 실재: 수사학적 판단과 문학적 보편성을 통해 객체의 속성과 결핍된 욕망 사이의 인과적 구성을 평면 위에 직조합니다. 

- 구조적 완결성: 결과적으로 (1 - partial)의 점근적 긴장감 역설은 추상적 욕망의 개념을 왜곡이나 소모 없이 완벽한 회화적 실재 이미지로 고정시키며, 타자의 시선과 주체의 결핍이 공존하는 궁극의 미적 구조를 완성합니다.

4. The completion of abstraction, where abstract desire transforms the concept of desire into a real image through the image: (1 - partial) Asymptotic Tension Paradox — Projecting Unattainable Annihilation

As a linguistic meaning, abstract design, which constructs an actual image to realistically represent the existence of an object, consistently maintains the concept of desire for a particular object. It also abstracts the concept of desire into the actual image, drawing out the aesthetic characteristics of a particular object of desire and preventing abstract desire from being triggered by the image. 

As a result of this rhetorical judgment, the real image, as a consequence of the likelihood between the object possessing a deficient desire and its attribute, becomes an abstraction based on literary probability when expressed as a painting, because it follows literary universality. That is, from an image of desire lacking abstraction, the linguistic meaning is realized in the actual image, and through rhetorical judgment, a pictorial image is obtained in which the object possessed by desire may have a causal structure of abstract generality. 

By adopting the method of the process that constitutes abstraction, it redefines the abstraction of real images. Through an abstract design process following this predetermined Choi Cheol-ju desire formula, the concept of desire takes the form of a physical object called abstraction. And the object possessing the deficient desire determines its relation to reality through abstract contingency, thereby constructing abstraction as the subject through which, from the other’s perspective, the concept of abstract desire constitutes the linguistic meaning as a real image.

1. Visualization of Unattainable Union and Asymptotic Structure   

- Setting the Limits of Union: The structural resistance limit(1 - partial), which occurs when the subject attempts to become entirely unified with the desire of the Other, is reflected directly into the canvas composition and spatial arrangement. 

- The Eternally Unfinished Space: This forms an asymptotic tension where visual elements converge toward one another but never touch, visually mapping out a structure where desire remains perpetually unfulfilled and deferred.

2. Projecting Annihilation Through Reversible Light and Shadow   

- The Aesthetics of Annihilation: Within the paradox where desire explodes infinitely as the variable partial approaches 1 and the denominator converges to zero, a simultaneous point of meaning's annihilation and deconstruction is captured. 

- Redefining the Real Image: Amidst the shades of reversible light, pain and deficiency uncapturable by language are concealed behind shadows, maximizing the tension of the process where abstract concepts are transcribed into real images.

3. Completion of Abstract Reality Through Sculptural Practice   

- Literary Probability and Logical Reality: Through rhetorical judgment and literary universality, the causal composition between the object's attributes and its deficient desire is woven onto the flat plane. 

- Structural Completeness: Ultimately, the (1 - partial) asymptotic tension paradox solidifies the abstract concept of desire into a flawless pictorial real image without distortion or depletion, completing the ultimate aesthetic structure where the gaze of the Other and the deficiency of the subject coexist.

Louis Choi Chul-joo, the literary probability of successfully conveying desire 2, a hand-painted picture on a computer  

The performance image is an object that depicts the meaning of the shape seen in the semantic space created by reversible light. The performance image shows an abstract reality with a symbolic grammatical structure by structuring the meaning of "BLACKPINK creations a new image in the mirror like the picture "Las Meninas·The Maids 18" into an abstract space that can be reversible to the actual shape by structuring the meaning of the object into an abstract space that can be reversed into the actual shape. The image in the mirror is a virtual non-real image that Velázquez revealed in the unconscious desire of the other, a fantastic image that Velázquez revealed in the unconscious desire of the other, a momentarily distorted image of Velázquez's Las Meninas (From a black of desire to a change of form, young voters want to watch Blackpink's The Show ladder tan campadcasts on YouTube), showing an abstract reality with a symbolic grammatical structure.

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 255-the literary probability of successfully conveying desire, 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 Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j255-the literary probability of successfully conveying 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.

The visualization of the concept of desire: Louis Choi chuljoo, ba-pondmboo forest j255-the literary probability of successfully conveying desire-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 d204-pond-2024 U.S. presidential candidate> 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 j255-the literary probability of successfully conveying desire-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 p137-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer> created by reversible light.  

Therefore, conceptual abstract painter Louis Choi Chul-joo's "j255-the literary probability of successfully conveying desire" 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 chuljoo, morning glory p137-1--the literary probability of successfully conveying desire: 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.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p137-1-the literary probability of successfully conveying desire" 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. 

Conceptual Abstract Painter Louis Choi Chul-joo's work "bamboo forest j255-the literary probability of successfully conveying desire-pond-mirror" rather than campaign broadcasts through YouTube-pond-mirror" is an abstract reality image that reconstructs the structure of desire created through an aesthetic grammatical structure into a linguistic sense.

Louis Choi chuljoo, morning glory p133-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p113-7-1-South Korean President Threatens People With Declaration of Emergency Order: 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 p113-7-1> 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 Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, 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 p113-7-1-South Korean President Threatens People With Declaration of Emergency Order> 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.

 Louis Choi chuljoo, morning glory p133-1-29-the literary probability of successfully conveying desire, a hand-painted picture on a computer

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.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p133-1-28-the literary probability of successfully conveying desire" 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 "morning glory p133-1-29-the literary probability of successfully conveying desire" 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

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 255, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j255-the literary probability of successfully conveying desire-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.  ■ 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./ 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). ■ 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.  ■ 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. ■ 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.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 255, a hand-painted picture on a computer

Final image superimposed on the artist's work: Louis Choi Chul-joo, pond s5, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j255-the literary probability of successfully conveying desire-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.   

Louis Choi Chul-joo, morning glory p100-16-2-1-Inauguration of the 47th President of the United States, a hand-painted picture on a computer  

The performance image is an object that depicts the meaning of the shape seen in the semantic space created by reversible light. The performance image shows an abstract reality with a symbolic grammatical structure by structuring the meaning of "BLACKPINK creations a new image in the mirror like the picture "Las Meninas·The Maids 18" into an abstract space that can be reversible to the actual shape by structuring the meaning of the object into an abstract space that can be reversed into the actual shape. The image in the mirror is a virtual non-real image that Velázquez revealed in the unconscious desire of the other, a fantastic image that Velázquez revealed in the unconscious desire of the other, a momentarily distorted image of Velázquez's Las Meninas (From a black of desire to a change of form, young voters want to watch Blackpink's The Show ladder tan campadcasts on YouTube), showing an abstract reality with a symbolic grammatical structure.

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 258-the literary probability of successfully conveying desire, 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 j258-the literary probability of successfully conveying 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.

The visualization of the concept of desire: Louis Choi chuljoo, bamboo forest j258-the literary probability of successfully conveying desire-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 j258-the literary probability of successfully conveying desire> 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 j256-the literary probability of successfully conveying desire-pond> 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.

The visualization of the concept of desire: Louis Choi chuljoo, bamboo forest j258-the literary probability of successfully conveying desire-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.

■ 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, morning glory p100-16-2-1-Inauguration of the 47th President of the United State: 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 p137-2-the literary probability of successfully conveying desire> 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 2025-4-the literary probability of successfully conveying desire, 113X165cm, acrylic and composite materials on cloth, 2025> 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 p100-16-2-1-Inauguration of the 47th President of the United State> 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.

Louis Choi Chul-joo, morning glory p137-2-the literary probability of successfully conveying desire, a hand-painted picture on a computer 

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 256-the literary probability of successfully conveying desire, 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 j256-the literary probability of successfully conveying 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.

The visualization of the concept of desire: Louis Choi chuljoo, bamboo forest j256-the literary probability of successfully conveying desire-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 j256-the literary probability of successfully conveying desire> 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 j256-the literary probability of successfully conveying desire-pond> 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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j256-the literary probability of successfully conveying desire-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. 

Louis Choi Chul-joo, morning glory p137-3-the literary probability of successfully conveying desire-pond, a hand-painted picture on a computer 

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 p137-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer> created by reversible light.  

Therefore, conceptual abstract painter Louis Choi Chul-joo's "j256-the literary probability of successfully conveying desire" 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.

These event images reveal the obscured abstract structure as a shade of reversible light in the pond as a real image <morning glory p137-3-the literary probability of successfully conveying desire-pond> specified by mirror theory.

Louis Choi Chul-joo, morning glory p133-1-30-the literary probability of successfully conveying desire, a hand-painted picture on a computer 

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p133-1-30-the literary probability of successfully conveying desire: 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.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "p133-1-30-the literary probability of successfully conveying desire" 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. 

Conceptual Abstract Painter Louis Choi Chul-joo's work "bamboo forest j255-the literary probability of successfully conveying desire-pond-mirror" rather than campaign broadcasts through YouTube-pond-mirror" is an abstract reality image that reconstructs the structure of desire created through an aesthetic grammatical structure into a linguistic sense.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest j255-the literary probability of successfully conveying desire-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 p137-1-28-the literary probability of successfully conveying desire, a hand-painted picture on a computer> created by reversible light.  

Therefore, conceptual abstract painter Louis Choi Chul-joo's "j255-the literary probability of successfully conveying desire" 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.

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p137, a hand-painted picture on a computer