概念抽象現実主義画家、概念抽象リアリズム絵画の概念抽象美術評

概念抽象現実主義の画家、概念抽象リアリズム絵画の概念抽象美術批評家ルイ·チェ 3

概念抽象現実主義の画家、概念抽象リアリズム絵画の概念抽象美術批評 [3] 現代美術評論家ルイ, 現代美術家チェ·チョルジュの現代美術批評と現代美術デザイン批評 = 現代美術今日、現代美術評論家チェ·チョルジュの美術批評、現代抽象美術画家批評: チェ·チョルジュ欲望概念抽象ポップアートは、相手の欲望芸術の抽象概念的アプローチとポップアートのデザイン形態と言語抽象的イメージを組み合わせたものである。 彼の欲望の概念、つまり概念抽象芸術が現れ、形而上学的哲学的光の中で強調される言語的意味の概念と衝突する絵が、人工照明で劇的な出来事イメージを作り出す。& 現代美術の抽象絵画をデザインする抽象現代美術:抽象画家ルイ·チェ·チョルジュの現代概念美術は、他者の欲望をテーマにした非実在として、実際的造形性の痕跡と可逆的光の陰影で概念を抽象する美術だ。 これは初期概念美術の概念で、ある絵画性の復帰、すなわち実在の座を代理する他者の欲望を抽象化する抽象画だ。チェ·チョルジュの欲望概念、すなわち現代美術が登場し、形而上学的および哲学的光が強調する言語的意味概念と衝突する絵が人工照明と共に劇的な事件イメージを作り出します。

崔徹柱の概念的抽象的現実主義の定義は、哲学的概念、言語的意味構造、現代美術の現実に対する視覚的表現を結合した新しい概念的抽象理論で、単純な視覚的抽象や隠喩的テーマを越え、他人の欲望を象徴として隠さず、宗教の規範を逸脱する概念的抽象的実在論芸術の思潮です.

これはチェ·チョルジュの「概念抽象的写実主義抽象化の定義」で、言語的抽象化と象徴的イメージを通じて他人の社会的問題と抽象的欲求を表現する芸術を説明し、「イメージとの対話を通じてイメージをモチーフにして象徴的意味を伝える」という現代美術の新造語です。 そして、チェ·チョルジュの概念的抽象的現実主義のイメージは、現代の欲望構造と人生の消費方式の問題を寓話的抽象化のイメージで批判するイメージです。

したがって、概念的抽象的実在論抽象化は、言語的意味の前段階で現象的意味のイメージを抽象的に解釈することから始まります。 つまり、実在論的イメージを意味する前に抽象的主観で解釈することで概念的抽象化になります。 その抽象化は、同じ言語的意味のイメージを持つアレゴリーと解釈される概念的抽象化を実在論的イメージに転移させ、実際の構造の抽象化になる。

概念抽象リアリズム絵画:概念抽象の意味構造としてのイメージを象徴するチェ·チョルジュの概念抽象リアリズム絵画は、実質的な形式と可逆的な光の痕跡を存在し、概念を抽象化した概念抽象リアリズム美術です。 これが初期概念美術の概念で、現実世界を代表する他人の欲望を抽象化した概念抽象リアリズム絵画です。 彼のリアリズムは抽象的なデザイン過程と哲学理論を通じて欲望の視覚的表現を探求することによって言語的意味で構成された魅力的な事実的イメージです. 象徴的な言語的意味と写実主義的イメージは分裂を通じて現実と出会う。 現実として欲望の概念の対象としての事件のイメージは社会の現象的イメージとして現れますが、非現実的な絵として抽象との出会いです。

したがって、チェ·チョルジュの概念的抽象的写実主義は、日常ニュースで現実的抽象の対象として登場した事件のイメージを芸術的絵で形成することによって典型的で一般化されます。

また、チェ·チョルジュの概念的抽象的現実主義抽象化は、日常ニュースの現実的認識構造を事件イメージと他人の抽象的欲望という概念で識別する概念的抽象的現実主義イメージとして明示されており、これは抽象的構造を文学化するアレゴリー現象です.: ルイ·チェ·チョルジュの欲望理論と視覚芸術の魅力的な交差点で現実的なイメージが登場します。 彼の欲望理論と概念的抽象リアリズムの枠組みを土台に非現実的な形の光と他人の欲望を土台に可逆的な陰影の跡で概念を抽象化した芸術です。 しかし、現実の場所を決して完全に把握できない抽象で表現しようとする他者の欲望、すなわち初期概念芸術の概念として絵画性の帰還を説明する概念的抽象リアリズムの抽象化です.: Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window, 113X165cm, acrylic and composite materials on cloth, 2025 & Review of Korean News Cartoon [205] Like the movie Ophelia, false love and war between countries end their deaths. (2025-5-12) / Reporter Choi Chul-joo’s Cartoon Review

Louis Choi Chul-joo, morning glory p139-1-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer

チェ·チョルジュの概念的抽象的リアリズムの定義は、哲学的概念、言語的意味構造、そして現代美術で現実の視覚的表現を結合した新しい概念的抽象理論で、単純な視覚的抽象や他人の欲望を象徴的に隠すことなく、宗教的規範で包装された隠喩的テーマの概念芸術を越える写実主義美術思潮です。

ガラス窓に欲望を映した鏡の肖像

質料として鏡はガラス板の裏面に水銀と鉛の酸化物である赤色顔料を塗って光を遮断し、前面に対象を照らすと光が反射され、対象と同じ姿を見せる。

したがって、ガラスの裏面が暗い時、鏡のように前面と向き合う時、ザウが変わった姿が映る。

したがって、絵画的イメージは鏡像と同じ姿を観察して凝視されて見えるように描いた画幅のイメージだ。

ガラスに映った肖像を可逆的な光の陰影で構成された欲望概念の言語的意味を鏡の肖像画は小さなガラスをモザイク(Mosaic)したフォトモザイクイメージと同じ構造のイメージだ

これは様々な方向の可逆的光の陰影で構成されたイメージを一つの事件場面や事実的構造を見せる。

事件の場面に記号的構造は欠乏した欲望で主体が分裂したイメージだ。 これは欲望概念の言語的意味と同一視され、イメージのデザインを通じて意味が繰り返される。

このようにイメージが記号的構造に因果性によって象徴的存在になることで、欠乏した欲望の本質的イメージがガラス窓に映る。

窓ガラスは内部と外部を照明の明るさによって視線を集める。 窓ガラスの内部が暗い時は、鏡のように外部のイメージを反射する

これは被写体として欲望構造を現象的イメージを導き出し、文化的に欠乏した欲望概念の言語的意味を実在構造に合わせて照らすようにする。

窓ガラスの断面は停止された被写体を繰り返し映し、人工照明で明るい部分を明示する。

光の媒体として空気を抱いた大気は見ることと見えることとの差を空の光が時間性と多様な文化的な場から始まる。

空から可逆的な光を送る。 太陽から始まった光は遠い時間にあるが、現在の対象を照明する

これは、前回の事件イメージとして見られた他者の欲望を言語的意味と同じ実在構造に抽象し、空の光がガラス窓を透過して出会ったガラス窓の中のイメージとガラス窓に反射し、ガラス窓の前で文化的欲望の視線で欲望概念の主体として欠乏した欲望の本質的イメージの実体を見せてくれる。

このように欠乏した欲望の主体は、想像界でガラス窓に映った鏡の肖像を幼児のように自分と同一視する。

ガラスに映った肖像を可逆的な光の陰影で自分と同一視された自我を構成し、欲望概念の言語的意味を鏡の肖像は小さなガラスをモザイク(Mosaic)したフォトモザイクイメージで再現し、同じイメージで自我を成す。

このようにして作られたガラス窓に映った欲望鏡の肖像は、抽象的欲望概念を言語的意味と同じイメージとしての事件イメージや人物の容貌がガラス窓を通じて見えるイメージを欲望概念の意味作用として描いた肖像画を構成する。

そのため、ガラス窓に映った特定の欲望構造を鏡に映った肖像は、視覚体系で非存在した抽象画と同じだ。 これは、画幅に描かれた欲望的視線と向き合う存在としての現象的構造として、存在しない抽象的言語的意味のイメージを実際化する

他者の欲望と疎通する抽象的構造として、欲望概念と抽象的存在を同一視しようと欲望概念の言語的意味との疎通する存在的構造は、人工照明によって形と光で固着された並立した色合いが違って見える。

これにより、欲望構造の抽象デザイン方法は、存在的構造を捕捉して実在イメージを可逆的光の陰影的色調として視線と視線で見える凝視的被写体の構造が同じ意味の対象になるように繰り返してデザインする。

欲望構造の主体をイメージで描くのは、抽象的欲望概念を言語的意味のイメージをラフスケッチで演出し、欲望背景を可逆的光の陰影で形と色調をレンダリングする

可逆的光は現象構造を区分する可視光とは異なり、前回と共有した対象の位置を回帰する。 これは暗いガラス窓の表面に照明された方向と正反射したり、池にいる魚が動く時に光が折れて屈折する。

池の魚が動くと、暗い窓の表面に照らされた方向に反射したり、形が曲がったりします。

このように欲望構造の主体は可逆的な光で無意識言語の意味がイメージで構造化される。

そして、特定された欲望構造の欠乏した欲望を現象的イメージに導き出し、言語的意味に解釈して言語的意味は同一だが抽象的欲望概念のイメージは一致できないことを確認する。 したがって欲望概念の言語意味が実在イメージに転移することはできるが、そのイメージは抽象化される。 ここで実在イメージとして抽象化しようと欠乏した欲望の主体が望む言語的意味の実在が何かを特定し、ガラス窓に欠乏した欲望の存在としてオブジェを彫刻された鏡の肖像に合わせる。

このように抽象的欲望概念が言語的意味のイメージとしてガラス窓から精反射された対象は左右が変わりながら実在の対象と向き合う。

すなわち、欲望オブジェとして事件イメージを言語的社会性による意味のイメージと同一視し、ガラス窓に可逆的光に反射された鏡イメージを他者の欲望として肖像する。

言語的意味で欲望構造は抽象的欲望概念で実在イメージとの時価的認識で相互関係する。

これは社会的現象における事件イメージと欲望構造との同一概念としての実在の欲望主体を発現する。

可逆的な光は、見えない特定された欲望構造が詳しく見えれば現象的実在するため、光の陰影で実在を抽象する

ここで抽象的欲望オブジェとして事件イメージを描く時、チェ·チョルジュ欲望公式を適用した進行は他者の欲望として特定された現象構造として特定された抽象的欲望概念の言語的意味の欲望的目立つ特徴的な実在でデザインして抽象的欲望構造を選り分けた事実的イメージを獲得する。

このように欲望公式による抽象化デザイン方法は、可逆的光の陰影で特定の抽象的欲望概念の言語的意味を隠蔽し、事実的イメージで抽象化を描く。

したがって、事実的イメージとしての抽象化は抽象的欲望概念で特定された他者の欲望から解釈した言語的意味、すなわち欲望概念との相関関係として言語的意味構造が実在構造の特定された現象で他者の欲望を抽象的言語意味が客観的基準にともなう必然的実在との関連関係を持った事件場面とした言語的文法構造に帰納的に解釈する。

しかし、実在として抽象的欲望概念の言語的意味を文法構造に合わせることは難しい。 したがって、現象的に見られる抽象的欲望概念を形式的文法構造として文章を作り、生成文法的言語意味を可逆的光で対比される陰影構造としての造形的イメージで実際化する。

したがって、欲望概念の実際化過程で欲望の主体が望む言語的意味と言表行為(enunciation)として特定の欠乏した欲望の存在としてオブジェを実在イメージに転移する。

このように欲望概念は無意識的言語的意味化過程で意識的実在構造としてのイメージを同一視し、ガラス窓に欲望を映った鏡の肖像を表そうと繰り返しデザインする。

これはガラス窓に欲望を映した鏡の肖像のように見える人物とその周囲の対象を区分するが、対象の遠近的な大きさが適用されず、可逆的な光の陰影的な補色の残像として欲望構造の主体的な効果を強調する。

言語的意味構造は、文化性による他者の欲望主体を被写体とした抽象的イメージを表出する。 これは非現実的な抽象性を回避する欲望概念の表象として、記号的象徴系を実在イメージとして描かれることで、遠近法的体系から外れた事実的イメージがコラージュされた抽象化となる。

その抽象化の記号的主体は欲望概念の言語的意味と同一視した他者の欲望と相関関係を成す象徴系だ。

これは象徴界の記号的主体と欲望的背景であるチェ·チョルジュの池のイメージと同一視するガラス窓に欲望を映った鏡の肖像だ。/ 書き手。 現代美術評論家 チェ·チョルジュ （文化デザイン博士）

Louis Choi Chul-joo, a portrait of a mirror reflecting its desire on the window-sketch, 113X165cm, acrylic and composite materials on cloth, 2025

The definition of conceptual abstract realism is a new conceptual abstract theory that combines philosophical concepts, linguistic semantic structures, and visual expressions of reality in modern art, a realist art trend that goes beyond mere visual abstraction or metaphorical subject conceptual art wrapped in religious norms without symbolically hiding the desires of others.

This is Choi Chul-joo's "Definition of Conceptual Abstract Realism Abstraction" a new term for contemporary art that describes art that expresses social problems and abstract needs of others through verbal abstraction and symbolic images, and "transports symbolic meaning by using the image as a motif through dialogue with the image." And Choi Chul-joo's conceptual abstract realism image is an image that criticizes problems in modern desire structures and ways of consumption of life as an allegory abstraction image. Therefore, conceptual abstract realism abstraction begins with an abstract interpretation of an image in a phenomenal sense in a previous stage of linguistic meaning. In other words, it becomes a conceptual abstract by interpreting it in an abstract subjectivity before meaning a realist image. The abstract transfers conceptual abstraction, interpreted as an allegory with an image of the same linguistic meaning, to realism image and becomes an abstraction of the actual structure.

a portrait of a mirror reflecting its desire on the window

The mirror applies a red pigment, an oxide of mercury and lead, to the back of the glass plate as a material, blocking light, illuminating the object head-on and reflecting light to make it look the same as the object.

Therefore, when the back of the glass is dark, the left and right are reflected in a changed shape when looking forward like a mirror.

A picture image is an image of a canvas that has been drawn so that you can observe and see the same image as the mirror.

The linguistic meaning of the concept of desire, which consists of a glass-reflected portrait in a reversible shade of light, is an image of the same structure as a photo mosaic image of a small glass.

It shows an event scene or a realistic structure of images composed of reversible shades of light in several directions.

The symbolic structure in the scene of the event is an image in which the subject is divided by lack of desire. This is identified with the linguistic meaning of the concept of desire and the meaning is repeated through the design of the image.

In this way, as the image becomes symbolic according to causality in the symbolic structure, the essential image of the deficient desire is reflected on the window.

Windows focus their eyes on the inside and outside, depending on the brightness of light. When the inside of a window is dark, it reflects the outside image like a mirror.

This allows the structure of desire as a subject to derive a phenomenal image so that the linguistic meaning of the culturally deficient concept of desire coincides with the actual structure.

The cross section of the window repeatedly reflects a fixed subject and specifies a bright area with artificial lighting.

The atmosphere containing air as a medium of light is different from what it looks and what it looks like, and the light in the sky comes from temporal and diverse cultural positions.

It sends reversible light from the sky. The light from the sun illuminates objects that exist for a long time but are now.

This abstracts the desire of others in past event images into the same real structure as the linguistic meaning, and reflects sky light through windows and windows, showing the reality of the essential image of desire that is lacking as a conceptual subject of desire.

In this way, the subject of the absence of desire identifies the portrait of the mirror reflected in the window with oneself, like an imaginary infant.

Portraits reflected in windows form self-identity in the shade of reversible light, and the linguistic meaning of the concept of desire is reproduced as a mosaic photographic mosaic image of a small glass to form the self as the same image.

The portrait of the desire mirror in the window created in this way constitutes a portrait depicting the abstract concept of desire as an event image as the same image as the linguistic meaning, or depicting the person seen through the window as a meaningful action of the concept of desire.

Therefore, a portrait of a particular desire structure reflected in a window reflected in a mirror is like an abstract painting that does not exist in the visual system. This creates a phenomenal structure for an abstract linguistic image that does not exist as a being facing the desired gaze drawn on the canvas.

As an abstract structure that communicates with the desires of others, the existential structure that communicates with the linguistic meaning of the concept of desire to equate the concept of desire with abstract existence looks different in the hue of fixing shape and light depending on artificial lighting.

Thus, abstract design methods of desire structures capture existential structures and repeatedly design real images in reversible shades of light, so that the structure of the gaze and the gaze seen by the gaze become objects of the same meaning.

Image painting the subject of desire structure makes abstract desire concepts into rough sketches of images in the linguistic sense, making the desire background a reversible shade of light.

Unlike visible light, which distinguishes the phenomenal structure, reversible light returns to the position of an object shared with the previous time. It is reflected in the direction illuminated on the dark window surface or bent in shape as the fish in the pond moves.

In this way, the subject of the desire structure is reversible light, and the meaning of unconscious language is structured as an image.

Additionally, it is confirmed that the image of the abstract desire concept cannot match even though the linguistic meaning is the same by deriving the deficient desire of a specific desire structure as a phenomenal image and interpreting it in a linguistic sense. As a result, the image becomes abstract even though the linguistic meaning of the desire concept can be transformed into a real image.

Here, the reality of the linguistic meaning desired by the subject of desire lacking to be abstracted as a real image is specified, and the object is matched to a portrait of a carved mirror as the existence of desire lacking in the window.

In this way, the abstract concept of desire is an image in a linguistic sense, and the object reflected in the window faces the object of reality as the left and right change.

In other words, as an object of desire, the image of the event is identified with the image of meaning according to linguistic sociality, and the mirror image reflected by reversible light on the window is portrayed as the desire of the other.

In the linguistic sense, the desire structure interacts with the poetic perception of the real image in the concept of abstract desire.

In social phenomena, this expresses the subject of desire in reality as the same concept of event image and desire structure.

Louis Choi Chul-joo, Morning glory Poster 139 Image, a hand-painted picture on a computer

Reversible light abstracts reality as a shadow of light because it becomes phenomenal when viewed in detail as a specific invisible desire structure.

Here, when drawing an event image as an abstract desire object, the progression applying the Choi Chul-joo desire formula is designed as a desired and noticeable characteristic reality of the linguistic meaning of the abstract desire concept specified as a specific phenomenal structure of the other's desire to acquire a realistic image that obscures the abstract desire structure.

In this way, the abstract design method according to the desire formula conceals the linguistic meaning of a specific abstract desire concept with a reversible shade of light and draws abstraction as a realistic image.

Therefore, abstraction as a realistic image is a correlation between the linguistic meaning, or desire concept, interpreted from the other's desire specified in the abstract desire concept, and the linguistic meaning structure inductively interprets the other's desire as an event scene in which the abstract linguistic meaning is related to the inevitable reality based on objective standards.

However, it is challenging to match the grammatical structure with the linguistic significance of the abstract desire concept as a reality. As a result, a formal grammatical structure creates a sentence using the concept of abstract desire that can be seen as a phenomenon, and the meaning of a generated grammatical language is transformed into a formative image as a shaded structure contrasted with reversible light.

Therefore, in the process of realizing the concept of desire, the object is transferred to a real image as the existence of a specific deficient desire as an act of linguistic meaning and expression desired by the subject of desire.

In this way, the concept of desire is repeatedly designed to reveal a portrait of a mirror reflecting desire in the window by equating the image as a conscious reality structure in the process of unconscious linguistic meaning.

This distinguishes between a figure that looks like a mirror portrait of desire in a window, and the object around it, but the perspective size of the object is not applied and emphasizes the subjective effect of the desire structure as a shaded complementary color afterimage of reversible light.

The linguistic semantic structure expresses an abstract image based on the subject of the other's desire according to culturality. This is a representation of the concept of desire that avoids unrealistic abstraction, and by drawing the symbolic symbolic symbolic system as a real image, it becomes an abstraction in which a realistic image that deviates from the perspective system is collaged.

The symbolic subject of the abstraction is a symbolic system that correlates with the desire of others who identify with the linguistic meaning of the concept of desire.

This is a portrait of a mirror reflecting desire on a window that identifies the symbolic subject of the symbolic world and the image of Choi Chul-joo's pond, the background of desire./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

Louis Choi Chul-joo, Like the movie Ophelia, false love and war between countries end their deaths, a hand-painted picture on a computer: Review of Korean News Cartoon [205] Like the movie Ophelia, false love and war between countries end their deaths. (2025-5-12) / Reporter Choi Chul-joo’s Cartoon Review

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

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

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 262-Like the movie Ophelia, false love and war between countries end their deaths, 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 b262-Like the movie Ophelia, false love and war between countries end their deaths: 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 b262-Like the movie Ophelia, false love and war between countries end their deaths-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 b262-Like the movie Ophelia, false love and war between countries end their deaths> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <2024 U.S. presidential candidate> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.

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

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-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.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p138-4-Like the movie Ophelia, false love and war between countries end their deaths: 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.

Louis Choi Chul-joo, morning glory p139-1-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer

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

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

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest 267-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous move

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, bamboo forest i267-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The visualization of the concept of desire: Louis Choi chuljoo, ba-pondmboo forest i267-a portrait of a mirror reflecting its desire on the window-pond: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture./ The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <bamboo forest i267-a portrait of a mirror reflecting its desire on the window> 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.

Louis Choi Chul-joo, morning glory p139-5-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer

■ 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 i267-a portrait of a mirror reflecting its desire on the window-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "bamboo forest i267-a portrait of a mirror reflecting its desire on the window" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire

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

Desire Concept Realistic Abstract Work: Louis Choi Chul-joo, morning glory p139-1-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer : By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's 3formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

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

Louis Choi Chul-joo,"morning glory p139-1-a portrait of a mirror reflecting its desire on the window," 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 i267-a portrait of a mirror reflecting its desire on the window-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 p139-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p139-a portrait of a mirror reflecting its desire on the window: 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: Conceptual Visualization of Desire is a cartoon abstraction that describes events and performances as a concept of desire, which expresses the image of events as a desire background "morning glory" and "Bamboo Forest" as the background of the cartoon, and reconstructs the cartoon image as a realistic picture by moving it from the concept of abstract desire to the desire background "morning glory" and "Bamboo Forest," which are the subjects of desire.

Louis Chul-joo Choi, Rendering the intersection of desire outside the window, 140X186cm, acrylic and composite materials on cloth, 2024

Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p139-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer> 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 p139-1-a portrait of a mirror reflecting its desire on the window, a hand-painted picture on a computer> 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 p139-1-a portrait of a mirror reflecting its desire on the window, 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 p139-a portrait of a mirror reflecting its desire on the window" 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 p139-1-a portrait of a mirror reflecting its desire on the window" 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 267, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest i267-a portrait of a mirror reflecting its desire on the window-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. ■ the abstract design process of conceptual abstract realism: 1. Conceptual Abstract Realism The current object is illuminated with reversible light so that the illuminated form can be repeatedly visually recognized according to the past temporality to actualize the subject's structure as a shaded structure of reversible light. And the design concept that constitutes conceptual abstract realism abstraction is determined as a philosophical result that can be expected with abstract causality so that the object is repeated as a design with the present gaze so that it appears to be a realistic image according to temporality. 2. The object of conceptual abstract realism is that the absence of desire as a non-verbal meaning is alienated from the symbolic world and loses its essence as the subject of desire. In the previous stage of linguistic meaning, according to grammar revealed as a symbolic image of existence, it was separated into a realist image recognized as an abstract desire concept and divided into a realist image, and the realist image as the subject of the desire structure is linguistically and diachronically meaningful. 3. The design of a realism image is an image that lacks the linguistic meaning of conceptual abstract realism, and the image in a linguistic sense is repeatedly designed as a post-effect of the desire structure being re-embodied, and a new conceptual abstract realism image is repeatedly designed. The direction and viewpoint of reversible light that make up the image along the chain of design are all stages of the perspective visual system according to temporality, and the line space of the visual structure, in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image produce a realism image at the intersection of the existential place with continuity. 4. Realistic abstraction creates a multi-loyal structural image of the linguistic meaning of unconscious structure composed of shadows at multiple points of reversible light separated from perspective, and girls are abstracted as divided subjects as talents that can be stared at momentarily while dismantled at a stereoscopic single point. 5. Conceptual Abstract Realism Abstractism Rendering is a conceptual abstract realism of wanting and linguistic desires that cannot be perceived at the level of expression consciousness, visualizing philosophical psychological structures and rendering them with linguistic meaning at the intersection of conceptual abstraction and unrealistic realism. As this becomes conceptual abstract realism abstraction, unconscious desires that represent the color tone and shape of desires invisible in the shade of reversible light become maps as conceptual abstract realism abstraction.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Accordingly, the conceptual abstractive design process is

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

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

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

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

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

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

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

概念抽象リアリズムの画家、チェ·チョルジュ