概念抽象实在学|概念抽象实在学者崔徹彻柱的概念抽象实在论 1

概念抽象实在学 [1] 概念抽象实在学者崔徹(彻)柱地概念抽象实在论

Oct 7. 2025

概念抽象实在学[1]概念抽象实在美术学者崔徹(彻)柱通过概念抽象了解设计的艺术价值过程,在视觉美术中通过欲望理论接近设计意义的概念抽象实在形象作为欲望概念的语言意义结构,定义了在学问中出现的概念抽象实在学。因此,文化设计博士崔徹(彻)柱与现代美术批评一起,以抽象化设计这一概念接近现代美术的审美价值、过程、实在性,以语言语法结构接近绘画作品的意义,设想概念抽象实在学. / Conceptual Abstract Realism Science [1] Conceptual Abstract Realism Art Scholar Choi Chul-joo 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.

概念抽象实在学者路易崔徹(彻)柱通过视觉艺术,将现代概念的抽象欲望从语言意义上视觉化,验证照片、漫画、美术、工艺设计的审美价值、过程、概念抽象实在性,用接近概念抽象美术理论中美术作品意义的概念抽象实在论进行批评。这是通过文化设计博士崔徹(彻)柱的抽象化设计过程和概念抽象现实主义抽象化设计方法论的概念抽象实在学理论，探讨审美价值的艺术性，分析欲望的抽象意义的概念抽象实在学美术评论: 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:

在概念抽象实在美术学者路易崔徹(彻)柱的欲望理论和视觉艺术的魅力交叉点上,现实形象登场。这是以他的欲望理论和概念抽象现实主义框架为基础,以不现实形态的光和别人的欲望为基础,以可逆的阴影痕迹抽象概念的艺术。但是，是想要用绝对不能完全把握现实场所的抽象来表现的他人的欲望，即作为初期概念艺术的概念说明绘画性的回归的概念抽象现实主义的抽象化

崔徹(彻)柱的概念抽象现实主义定义是结合哲学概念、语言意义结构、对现代美术现实的视觉表现的新概念抽象理论,超越单纯的视觉抽象或隐喻主题,将他人的欲望作为象征不隐藏,脱离宗教规范的概念抽象实在论艺术的思潮. 现代美术家 Louis 崔徹(彻)柱的概念抽象美术和概念抽象画家评论作品及设计:现代美术家和现代概念抽象画家的概念抽象美术作品评论设计流程:作为现代概念抽象艺术，通过视觉艺术理论探讨审美价值的艺术性，现代概念抽象画家兼批评家崔哲柱通过他的《morning glory》作品，经常反映抽象的欲望概念和语言意义结构，解释知觉和审美结构，其结果归结为抽象欲望的语言意义相同的实际形象./ Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X165cm, acrylic and composite materials on cloth, 2024 & Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

反映现在欲望的莲花池素描

崔徹柱的欲望形象是一个对象,是明示欲望的时事新闻的通时欲望,作为体现抽象欲望概念的语言意义的形象出现在莲花池中。

在莲花池中映照的物体被自己的欲望所支配,被明示为失去欲望主体的实际存在的物理结构,作为连续欲望的现象性主体形象,代理了时间性(diachronic)欲望

通过崔哲柱的欲望公式,以时间欲望设计和适用审美结构,将现象性主体,即作为存在的实体对象形成的过程用图表图像表示。时间欲望的途径是运用欲望公式，从欲望结构的抽象设计到实际形象的设置。这是在视觉领域作为存在,将欲望形象作为实际存在形象认知,从他人的无意识的欲望观点出发,作为对象,将事件形象作为新闻传达,并将该对象作为存在,作为现象形象认知。

这里抽象了镜子结构池塘中现象图像主体的存在,在语言意义上分裂为记票图像,形成缺乏社会可视性的欲望图像。该图像由池塘组成，其中持续欲望的碎片反映在社会结构中。那个池塘的水面像镜子一样反映现实形象。这是将他人的欲望抽象成理想的审美结构并再现的现代现实主义绘画形象。这是在莲花池中反映事件和演出形象，作为与现实一起看待他人欲望的主体，通过自我欲望的相互作用而形成的形象。

因此,通过连接欲望的欲望概念抽象设计过程和作为审美结构的现象性形象设计,适用崔哲柱的抽象设计过程,将欲望概念表现为实际形象,将他人欲望中出现的歪曲形象表现为同样的欲望概念。

崔徹柱的欲望公式是,在近代也受到宗教制约的文艺复兴时代的科学思考中,Leon Battista Alberti的绘画论,即以远近法构成的被摄体的比例和概念,多认可了同时代的抽象欲望概念。这与现代理想抽象不同,欲望概念的语言意义通过他的抽象设计过程,从可逆光的阴影中回归阿尔贝蒂的透视法,将欲望结构体现为实际存在形象。

欲望结构的实际存在形象是在他人的欲望中凝视的抽象空间中,将事件形象作为对象,在凝视领域瞬间与欲望结构相提并论。这是被隐藏的他人无意识中压抑的欲望的表现。这样被认知的物体的视觉特性是存在性和抽象性

Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X164cm, acrylic and composite materials on cloth, 2024

作为凝视的形象,物体的连续形态和欲望结构的不变性随着时间的流逝,被认定为同样的欲望概念时,就会以瞬间的形象被凝视。欲望的对象随着时间的流逝,以不同的背景出现,但其实体依然如故,凝视的时间似乎被歪曲。 崔徹柱的抽象设计过程是从将光的可逆阴影中形成的欲望对象视为他人欲望的欲望概念开始的,用视线看待的歪曲形象来实现这一点。

这里歪曲的形象是《morning glory》以欲望的背景,指的是欲望的结构。因此,不是画的背景,而是欲望的一部分,像莱昂纳多·达·芬奇的素描《阿尔诺风景》一样,将风景作为一个主体,《morning glory》是体现实际欲望的背景。该概念抽象化为了集中于欲望的视线，将物体与平坦结构的实际空间排列，平面性地歪曲。在欲望概念的语言意义上,事件和演出的形象以漫画形象的"morning glory"和可逆的光影中的事件形象描绘成相同的平面结构,并与事件形象重叠。另外,将现存的欲望形象中的莲花池装饰成可逆光的阴影,装饰作为主体的欲望的位置。

以池塘中映照图像为主体的存在中的欲望概念是黑格尔存在（Existenz），与现有空间结构中对象的欲望概念直接相关，作为实现抽象不存在的主体，是非自愿的潜意识中的欲望结构图像

通过从抽象的非存在中认识认知视线的过程,欲望的概念将事件的形象设计成视觉设计,通过视线知觉,被认为是形成存在对象的形成性审美价值的对象。这样形成的形象表现了现代的美学价值，通过他人的欲望概念解释形象的实体。这是在欲望结构领域根据他人的视线生成对象的过程应用于抽象的设计,结果歪曲了从对象和欲望对象现实中分离出来的作为他人的欲望形象。因此，形成表现他人欲望结构的副产品，转移到其他可识别的现有形象上。在这里,时间性将形成现有材料的视觉结构的实际形象引导到可逆的光阴影中,确保可逆的空间结构。

新的数学图形结构是作为欲望概念的结果,想要设计审美结构的抽象的崔哲柱的欲望公式。抽象欲望的概念是在事件的形象中对他人的欲望具有审美意义时实现欲望的抽象概念，意味着他人的欲望结构

反映当前欲望的池塘渲染

作为欲望的审美结构,主体作为对象,将与事件形象相同的欲望概念分裂为无意识和实际存在形象,将无意识的欲望建模为存在实际存在的流行艺术形象。

因此,谈论语言意义的主体是在新闻中播放的事件和形象中,作为发话行为(enunciation),将口语体语言和事件影像广播的收视效果作为特定依赖新闻的因素的一个发话行为的言表性审美结构,将欲望概念的真理值抽象化表现为实际存在

因此,将语言意义说成实际存在的主体是抽象化,即欲望概念的真理值,这是将口语体和事件录像广播的收视效果明示为依赖于新闻的发火行为(enunciation)的表象性美学结构。这是因为视觉形象的欲望概念是开放系,通过多元的视觉体系将众多视觉形象传达给他人。欲望概念的真理值抽象形象是从他人的欲望中表现出来的实际存在形象,具有普遍性,因此备受关注。即，从他人的抽象欲望中暴露出来的物体，通过作为艺术作品适用的流行艺术的通时功能，具有交换与他人的欲望概念相同的审美形象的欲望功能。

欲望概念的抽象形象和现实在相同语言意义上的解释是欲望的结构,抽象的欲望概念的现实是欲望的因果结构的现实形象,与矛盾的欲望形成意义关系,从而演绎欲望的结构。

像康德一样，近代美术也采用二元结构，将神话对象与人类结构相同，将二律背反包含在一个结构中

因此,通过理性主体的视线,作为与欲望结构的语言意义相同的合理对象的事件形象的对象,被认为是主体看不到的实际形象。

而且，想要填补欲望不足的实际存在形象持续代理其他欲望的对象。在抽象欲望中作为对象反映现在欲望的莲花池,作为实际存在提出欲望结构,在抽象欲望中作为对象,但是通过实际存在形象隐藏从缺乏中分离出来的欲望结构,脱离了社会可视性,欲望结构隶属的欲望缺乏的不完整的抽象性,作为实际存在形象,将欲望的原因作为事件形象回归到对象。

另一个欲望的对象持续表现为想要满足欲望缺乏的实际形象。作为抽象欲望的对象,反映现在欲望的莲花池提出了抽象欲望的对象--现实的欲望结构,摆脱了缺乏欲望的不完整的抽象,将实际形象的欲望原因归结为事件形象的对象。即,缺乏和分裂的欲望结构通过抽象欲望的实际形象被隐藏,从属于脱离的社会可视性的矛盾欲望成为欲望的原因,成为实际形象的对象。

Louis Chul-joo Choi, morning glory p132-5-1-Pond Rendering Reflects Current Desire-BTS New York Times Square Performance, a hand-painted picture on a computer

欲望概念对象渲染过程

欲望概念的对象渲染是1.作为对象,将与事件形象相同的欲望概念分割成无意识和实际存在形象,将无意识的欲望渲染成存在实际存在的流行艺术形象。因此,讲述语言意义的欲望结构的对象物是在新闻中播放的事件和形象中,作为发话行为(enunciation),将口语体语言和事件影像广播的收视效果特定于新闻的要素的一个发话行为的言表性审美结构,将欲望概念对象的真理值抽象化表现为实际存在。 2. 作为欲望概念的真理值,将语言意义说成实际存在的抽象化,即欲望概念的真理值,这是将口语体和事件视频广播的收视效果明示为依赖于新闻的发火行为(enunciation)的表象性美学结构。

这是因为视觉形象的欲望概念是开放系,通过多元的视觉体系将众多视觉形象传达给他人。欲望概念的真理值抽象形象是从他人的欲望中表现出来的实际存在形象,具有普遍性,因此备受关注。即，在他人的抽象欲望中体现的欲望概念的真正价值——Object，通过作为艺术作品适用的流行艺术的通时功能，具有交换与他人的欲望概念具有相同语言意义的审美形象的欲望功能。 3. 欲望概念的抽象形象和现实在相同语言意义上的欲望概念的真理值表示欲望的结构,抽象欲望概念的现实是欲望的因果结构的现实形象,与矛盾欲望形成意义关系,从而演绎欲望的结构。

它像康德一样，将近代美术也作为二元结构，将神话对象解释为与人类相同结构的二律背反形象作为一个实际存在结构包含在内。 4. 欲望概念的Object Rendering通过理性主体的视线,将欲望结构的语言意义等合理的Object事件形象渲染为主体看不到的实际形象。还有想要满足欲望缺乏的实际形象是持续代理其他欲望的抽象欲望，作为对象反映现在欲望的镜子结构的莲花池，在可逆光的阴影下，作为欲望结构，反复设计和渲染语言意义上的形象。

其渲染作为形象的实际存在,提示欲望结构,是抽象欲望的对象,通过实际存在形象隐藏从缺乏中分离出来的欲望结构,摆脱脱离的社会可视性中欲望结构隶属的欲望缺乏的不完整的抽象性,作为实际存在形象,将欲望的原因作为事件形象回归到对象。另一个欲望的对象渲染持续表现为想要满足欲望缺乏的实际形象。作为抽象欲望的对象,反映现在欲望的对象渲染提出了抽象欲望的对象--现实的欲望结构,摆脱了缺乏欲望的不完整抽象,将实际形象的欲望原因归结为事件形象的对象。即,缺乏和分裂的欲望的结构通过抽象欲望的实际形象被隐藏,从属于脱离的社会可视性的矛盾欲望成为欲望的原因,作为实际形象归结为抽象化。

反映当前欲望的池塘渲染

新的数学结构是作为欲望概念的结果，想要设计审美结构的崔徹柱欲望的公式。

作为反映现在欲望的莲花池对象,在事件形象中直视与他人的欲望,具有审美意义时,将抽象的欲望概念以实际存在的抽象化,以借款人的欲望结构代理。

在欲望的莲花池中,作为审美结构,主体作为对象,将与事件形象相同的欲望概念分裂为无意识和实际存在形象,将无意识的欲望建模为存在实际存在的流行艺术形象。

在现在的欲望中,莲花池形状所具有的绝对欲望概念是在抽象化中看到的符号隐喻,其欲望概念虽然抽象了他人的欲望,但无法超越模仿的范畴。 .

在抽象欲望中,把与实际存在形象的差异作为语言概念的意义来接受,抽象化与欲望形成关系结构的抽象相面对的欲望的语言意义形成的实际存在结构。这是摆脱宗教习惯中接受的社会制约(制约),隐藏画中欲望的造型现实,抽象化以实际新闻为基础的事件形象的崔哲柱的欲望概念抽象化。

因此,谈论语言意义的主体是在新闻中播放的事件和形象中,作为发话行为(enunciation),将口语体语言和事件影像广播的收视效果作为特定依赖新闻的因素的一个发话行为的言表性审美结构,将欲望概念的真理值抽象化表现为实际存在。

欲望概念的抽象实体和现实在相同语言意义上的欲望概念解释,通过形成欲望和意义关系,表现欲望的结构。在这个形象中，欲望的抽象实体是欲望的因果结构。即,二律背反的同等性将抽象欲望概念的真实性从Aporia形象转变为欲望的原因性结构的真实形象,与欲望建立意义关系,代理欲望的结构。

作为欲望结构的实际存在形象抽象化,可视隐喻的形态形象将抽象语言的意义转移到实际存在上。其抽象化是实际形状的图像,形状的欲望结构阴弊的抽象仪器的回流固定。也就是说,在抽象化中,作为社会事件形象,根据他人的欲望,将实体化的形状意义置换为追加的形式。

就像康德一样，近代美术也采用二元结构，神话对象与人类结构相同，二律背反作为一个结构。

因此,与用理性主体的视线洞察欲望结构的语言意义相同,作为理性对象的事件形象的对象,被认定为在主体看不到的二律背反的场所凝视的实际存在形象

从崔徹柱的欲望概念来看,马奈的《Le Déjeuner surl'herbe 草丛上的午餐》中,身穿西装的男性作为幼儿认识主体性,是与自己的形象一视同仁的象征系。穿正装的男性从整理服装、表明理性道德观的时代到19世纪,根据持续的社会规定,幼儿所具有的认识结构。在与莲花池一样的镜子结构中暴露在外部的开放空间里,女性和男性认识到脱衣服是错误的,所以穿了正装,与裸体女性不同,穿了正装的男性是形象的主体。

这是欲望结构从属于时代错误的社会性、缺乏欲望的不完全抽象化中摆脱出来,通过渲染欲望结构,将欲望概念的原因返回到物体上的镜子结构的实际形象

像这样,将莲花池的形象用镜子结构渲染是从抽象欲望的概念变成现实的平坦符号,事件形象将表现他人欲望概念的抽象欲望用可逆的光的阴影雕刻出来,隐藏在投影到视觉范围的形象层面。

在池塘形象中,欲望的主体拒绝抽象的绘画意义,用现实形象代替流体固定的抽象结构,表现隐藏在现有理性中的幻想实体。它展现了看不见的欲望实体的实际形象,以"反映现在欲望的池塘渲染"破坏现代绝对幻想的固定

欲望结构代理镜子的抽象欲望概念,将体现实际空间位置的欲望的不稳定自我确定为实际,构成映在莲花池中的欲望形象。

这是将欲望概念的象征意义反映在表面上的无意识欲望与实际形象进行对照,将欲望形象以可逆的光阴影对比结构实现的。

这里的莲花池将欲望的结构分为镜子的结构,将欲望的概念以实际形象反映在表面上,将他人的欲望与自我等同起来。

欲望是一个物体，事件的形象和语言意义是连接在一起的结构。罗列设计后，不抽象化欲望，而是作为欲望概念主体的语言意义指向实际形象。

像这样,识别莲花池中他人的欲望形象的主体,在现实中表现出象征自我无意识的欲望概念的结构的语言意义,将欲望和视线的形象留在阴影中。

因此,为了使莲花池的实际面貌更接近于欲望隐藏在阴影结构中的现实法则,崔哲柱的抽象过程结合了欲望的概念,表面多次反射光线,描绘了事物质感的影子。

欲望背景和对象光谱渲染基于反映当前欲望的池塘草图，在同一位置叠加多个灯光。

这是物体的质感颜色根据照明的颜色而变性,或者其他颜色被可逆的光反射识别时可以凝视的预测值,固定了作为实际欲望图像的欲望概念。

欲望概念的固定素描形象,语言意义追溯效果,欲望结构在池塘水面完成

以池面反射的可逆光线缝合的欲望对象,以实际固有的颜色构成。然后,可逆的光线投射到欲望的对象上,被雕刻成实际阴影,被反射和凝视的实际形象。

因此，与透视视觉系统不同，反映当前欲望的欲望形象渲染根据欲望结构的时间性，反复设计表里不一的象征性现实形象，在同一表面上用多种可逆的光打造欲望的质感，实现与单一形象相同的结构./ 作者，概念抽象实在学者崔徹(彻)柱（文化设计博士）

Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025

Pond Sketch Reflecting Current Desire

Choi Chul-joo's image of desire is an object, and it is reflected in the pond as an image representing the linguistic meaning of the concept of abstract desire as a diachronic desire of current affairs news that specifies desire.

The physical structure specified as a reality in which the object reflected in the pond is dominated by its own desire and the subject of that desire has been lost represents diachronic desire as a phenomenal subject image of continuous desire.

It shows the process of being formed as a phenomenal subject, that is, a real object as a being, as a signifier image by designing and applying an aesthetic structure from diachronic desire through the Choi Chul-joo Desire Formula. The path of diachronic desire is from applying the desire formula to the abstract design of the desire structure to the installation of a real image.

This recognizes the image of desire as a being in the visual domain as a real image, delivers the event image as an object to the news from the perspective of unconscious desire, and recognizes the object as a phenomenal image as the presence.

Here, the existence of abstracting the subject of a phenomenal image in a pond with a mirror structure divides into signifier images in a linguistic sense, creating an image of desire that lacks social visibility. The image is formed in a pond where a continuous sculpture of desire is reflected in the social structure.

The surface of the pond reflects the image of reality like a mirror. This is an ideal aesthetic structure, and the desire of others is abstracted and recognized as an image of modern realism painting to reproduce. This is an image created by the desire interaction of the self as a subject who reflects the scene of events and performances on the pond and sees the desire of others with reality.

Therefore, through the abstract design process of the concept of desire connecting desires and the design of phenomenal images as an aesthetic structure, Choi Chul-joo's abstract design process is applied to appear the concept of desire as a real image and a distorted image revealed in the desire of others as the same concept of desire.

Choi Chul-joo's desire formula is a multilateral version of Leon Battista Alberti's concept of contemporary abstract desire from the proportion and concept of a subject as a perspective composition in Renaissance scientific thinking overlapped with religious constraints until modern times. Unlike modern ideal abstraction, this embodies the structure of desire as a real image by regressing Alberti's perspective with a shade of reversible light through his abstract design process.

The real image of the desire structure is recognized by instantaneously identifying the event image with the desire structure in the gaze area as an object in the abstract space staring at the other's desire. This is expressed by the desire suppressed by the unconsciousness of the other person. The visual characteristics of the object that are perceived in this way are existence and abstraction.

As a gaze image, the continuous shape of an object and the immutability of the structure of desire are stared at as a momentary image when it is perceived as the same concept of desire over time. The object of desire appears in a different background as time passes, but its reality does not change, but the point of time when it stares at it is transferred to make it appear as a distorted image. Choi Chul-joo's abstract design process realizes this as a distorted image seen as a gaze from the concept of desire to gaze at the object of desire created in a reversible shadow of light as the desire of others.

Here, as a distorted image, "morning glory" refers to the structure of desire as the background of desire. Therefore, not as a background of the painting, but as a piece of desire, "morning glory" as a subject of the landscape, like Leonardo da Vinci's De saint "Arno Landscape", is a background that represents visible desire in real. This conceptual abstraction distorts objects flatly by aligning them with real space in a flat structure to focus on the gaze of desire. In the linguistic sense of the concept of desire, the image of events and performances is drawn in the same flat structure, that is, "morning glory" as a cartoon image in a reversible shadow of light, and overlaps it with an event image. In addition, the pond reflected in the image of desire in the presence is decorated with a reversible shadow of light to create a place of desire as a subject.

The concept of desire in the presence, which forms the image reflected in the pond as the subject, is an image of an involuntary desire structure as a object who realizes the abstract non-existence as Hegel's Existenz, who directly relates to the concept of desire as an object in the existing spatial structure.

Through the process of perception of cognitive gaze from abstract non-existence, the concept of desire is recognized as an object that designed the image of an event as a visual design and forms the formative aesthetic value of the object that exists through gaze perception. The image formed in this way reveals the aesthetic value of the contemporary time and understands the reality of the image through the concept of desire of others.

This is to apply the process of creating an object by the gaze of the other in the area of the desire structure to abstract design in the process of forming the other's desire as an object, and as a result, form an object as a distorts desire image as another being separated from the reality of the object and the desire object. Therefore, it forms an object that reveals the desire structure of the other and transitions to another recognizable existing image.

Here, temporality secures a reversible spatial structure by leading real images that form the visual structure of existence to reversible shadows of light.

The new mathematical figure structure is abstract Choi Chul-joo's Desire Formula, an abstract formulation for designing aesthetic structures as a result of the concept of desire.

The concept of abstract desire represents the desire structure of others as an abstraction that actualizes desire when it has an aesthetic meaning for the desires of others in the image of an event.

Pond Rendering Reflects Current Desire

As an aesthetic structure of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.

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.

This is because 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.

Like Kant, the mythical object of the same structure as humans and the logical facts within one structure are included in one structure as contradictory antinomic relationships that are compatible on equal grounds.

The interpretation of the concept of desire in a linguistic sense in which the abstract image and reality of the concept of desire are the same represents the structure of desire by forming a semantic relationship with antinomic desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire.

Therefore, 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.

Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X164cm, acrylic and composite materials on cloth, 2024

Object rendering process of the concept of 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.

Louis Chul-joo Choi, morning glory p131-1-Release Lovelyz's mini album, a hand-painted picture on a computer

Pond Rendering Reflects Current Desire

A new mathematical structure is Choi Chul-Joo's Desire Formula to design an aesthetic structure as a result of the concept of desire.

As an object of a pond reflecting the present desire, when it has an aesthetic meaning by facing the desire of the other in the image of the event, it represents the concept of abstract desire as an actual abstraction and the structure of the desire of the other.

As an aesthetic structure in the pond of desire, the subject is a pop art image that models unconscious desire as an existential reality by dividing the concept of desire, which is the same as the event image, into unconscious and real images.

The concept of absolute desire in the form of a pond in the present desire is a symbolic metaphor seen in abstraction, and the concept of desire abstracts the desire of others, but does not exceed the category of imitative painting.

While accepting the difference from the actual image in abstract desire as the meaning of the linguistic concept, it abstracts the actual structure created by the linguistic meaning of desire facing the abstraction that constitutes the structure of desire and relationship with desire. This is Choi Chul-joo's conceptual abstraction of desire, which is free from the social constraints (制約) that can be accepted in religious customs and hides the formative reality of desire in painting and abstracts the event image based on the news of reality.

Therefore, the subject that speaks linguistic meaning is an act of speech (enunciation) that specifies the elements that depend on the news for the viewing effect of colloquial language and event video broadcasting as an expressive aesthetic structure of enunciation, and represents abstraction, the true value of the concept of desire.

The interpretation of the concept of desire in a linguistic sense in which the abstract and reality of the concept of desire are the same 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. In other words, 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 aporia image.

In the abstraction of real image as a desire structure, the morphological image of visible metaphor is transferred to abstract language meaning. The abstraction is a transitional fixation as an abstract meaning in which the desire structure of the shape is obscured as a real image. In other words, in abstraction, the actual form meaning is transformed into an additional form by the desire of others as an image of social events.

Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans and includes antinomic distribution as a single structure.

Therefore, through the gaze of the rational subject, the object as an event image, which is the same rational object as the linguistic meaning of the desire structure, is recognized as a real image that cannot be seen by the subject staring from an antinomic position.

In Manet's "Lunch on the Grass", seen as the concept of Choi Chul-joo's desire, the man in a suit is a symbolic world that identifies his image while recognizing subjectivity as a toddler. A man in a suit is a structure of perception of an infant by continuous social regulations from the time when he dressed up and expressed a rational view of morality to the 19th century. It recognizes that it is wrong for women and men to take off their clothes in an open space exposed to the outside reflected in the same mirror structure as a pond, and recognizes that a man in a suit is the subject of the image, unlike a nude woman.

This is a real image of a mirror structure that deviates from incomplete abstraction lacking desire due to the subordination of the desire structure to diachronic sociality and returns the cause of the desire concept to the object by rendering the desire structure.

In this way, the rendering of the pond image as a mirror structure is a flat sign that will be real in the concept of abstract desire, and the event image carves the abstract desire that expresses the concept of desire of others into reversible light shades and obscures it into the dimension of the image projected in the visual range.

In the pond image, the subject of desire rejects the pictorial meaning of abstraction and reveals the reality of the illusion hidden in conventional reason by revealing it as an image of reality rather than an abstract structure by fluid fixation. This reveals the real image as a reality of invisible desire, destroying the fixation of the contemporary absolute illusion in "Pond Rendering Reflecting Current Desire".

The abstract concept of desire, in which the desire structure represents a mirror, is confirmed as reality the unstable self of desire, which represents the place of the real space, and the image of desire reflected in the pond is composed.

This is a realization of the desire image as a shaded contrast structure of reversible light by contrasting the involuntary desire that reflects the symbolic meaning of the concept of desire on the surface with the real image.

Here, the pond divides the desire structure as a mirror structure and equates the desire of the other with the self by reflecting the concept of desire on the surface as a real image.

The desire is an object, and the event image and linguistic meaning are connected structures, and instead of abstracting desire after serializing design, the linguistic meaning as the subject of the concept of desire is directed as a real image.

In this way, the subject that identifies the image of another's desire reflected in the pond reveals the linguistic meaning of the structure that symbolizes the concept of unconscious desire of the self in reality, and leaves the image of desire and gaze in the shadow.

Therefore, in order for the actual image reflected in the pond to be close to the actual rule of reality in which desire is hidden in the shadow structure, Choi Chul-joo's abstract design process connects the concept of desire and sketches the height of the texture of the object according to the multi-reflection of light on the water surface.

The background of desire and the object spectral rendering are performed by superimposing multiple lights in the same place when illuminated on a pond sketch reflecting the present desire.

This fixes the concept of desire as an actual desire image as a predictive value that can be stared at when the texture color of an object becomes metamorphism depending on the illumination color or is perceived as a different color is reflected in reversible light.

In the fixed sketch image of the concept of desire, the linguistic meaning is retroactive, and the desire structure is completed on the surface of the pond.

The object of desire stitched by reversible light that reflects the surface of the pond is composed of the unique colors of reality.

And a reversible light is projected onto an object of desire, sculpted and reflected in the shadow of reality, resulting in a real image that is stared at.

Thus, unlike perspective visual systems, Pond rendering, which reflects current desires, repeatedly designs symbolic reality images with overlapping surfaces and backs depending on the temporality of the desire structure to outline them, and creates the texture of desire with multiple reversible lights on the same surface to achieve the same structure as a single image. / Writing. Choi Chul-joo, a Conceptual Abstract Realism scholar (Contemporary Conceptual abstract Painter & Doctor of Cultural Design)

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 234-Release Lovelyz's mini album 'Lovely: 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

Louis Chul-joo Choi, morning glory p131-1-Release Lovelyz's mini album, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p131-1-Release Lovelyz's mini album: 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 "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 p131-1-Release Lovelyz's mini album> 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, a pond reflecting the image of one's present desires-sketch 3, 113X165cm, 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 <morning glory p131-1-Release Lovelyz's mini album> 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.

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 "Louis Choi chuljoo, morning glory p131-1-Release Lovelyz's mini album" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest i234-Release Lovelyz's mini album 'Lovely-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

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 234, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p131, a hand-painted picture on a computer

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

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

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

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

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

Louis Choi Chul-joo, Kim Yon-ja's bling bling 20

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

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

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

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

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 236-Let me be your fantasy, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest i236-Let me be your fantasy: 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest i236-Let me be your fantasy-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i236-Let me be your fantasy-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Louis Chul-joo Choi, morning glory p132-2=Pond Rendering Reflects Current Desire, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p132-2=Pond Rendering Reflects Current 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 Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p132-2=Pond Rendering Reflects Current 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 p132, a hand-painted picture on a computer> 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 Chul-joo, morning glory p132-2=Pond Rendering Reflects Current Desire, a hand-painted picture on a computer> becomes a non-real abstraction of reality.

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi Chul-joo, morning glory p132-2=Pond Rendering Reflects Current Desire, a hand-painted picture on a computer" 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 "In front of the bamboo forest Bamboo Forest Bamboo Forest i236-Let me be your fantasy-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 236, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p132, a hand-painted picture on a computer

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

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

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

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

Louis Chul-joo Choi, morning glory p132-3, a hand-painted picture on a computer

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

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

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

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

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

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

■ 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.

Louis Chul-joo Choi, Chungha, shows outstanding performance, a hand-painted picture on a computer,/ Cartoon, Korea News Cartoon Review with Contemporary Art Critic Choi Chul-joo's newsmanwha K-Pop Song illustratoin [18] Chungha, shows outstanding performance. ACN ・ 2020. 7. 13. 23:25/ Reporter Choi Chul-joo’s Cartoon Review

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

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 237-Chungha, shows outstanding performance: 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest b237-Chungha, shows outstanding performance: 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest b237-Chungha, shows outstanding performance-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest b237-Chungha, shows outstanding performance-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Louis Chul-joo Choi, morning glory p132-3-Chungha, shows outstanding performance, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p132-3-Chungha, shows outstanding performance: 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 Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p132-3-Chungha, shows outstanding performance> 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, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, 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 <morning glory p132-3-Chungha, shows outstanding performance> becomes a non-real abstraction of reality.

Louis Chul-joo Choi, morning glory p132-3-1-Chungha, shows outstanding performance, a hand-painted picture on a computer

Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, morning glory p132-3-Chungha, shows outstanding performance" 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 "Bamboo Forest b237-Chungha, shows outstanding performance-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.

Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 237, a hand-painted picture on a computer

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p132, a hand-painted picture on a computer

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

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

Louis_Chul-joo_Choi,_a_missing_pond,_112X249cm,_acrylic_and_composite_materi.jpg?type=w773

Final image superimposed on the artist's work:: Louis Chul-joo Choi, the Missing pond, 112X249cm, acrylic and composite materials on cloth, 2024: The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.

In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.

Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".

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

Louis Choi chuljoo, morning glory p132-5-BTS New York Times Square Performance, a hand-painted picture on a computer

Shadows that are continuous with light are distinguished by covering the whole or pointing out it in yin and yang like stars. As a result, the object of the concept of desire is identified by a reversible light shade.

To avoid errors by interpreting aesthetic logic to draw specific objects based on art-related philosophical theories, Choi Chul-Joo, a Ph.D. in cultural design, is conducting a contemporary concept abstract art movement with modern art design methodology through abstract paintings created using desire formulas and abstract design processes.

Choi Chul-joo's Concept of Desire Formul: In the concept of Choi Chul-joo's desire,

mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire./ 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.

Louis Choi chuljoo, morning glory p132-5-BTS New York Times Square Performance 6, a hand-painted picture on a computer

The Design Results of Choi Chul-joo's Desire Abstract Concept: The beneficiary who experienced martial law as a desire for the other is passive, but the powerful person who can actively enforce it from the perspective of the perpetrator puts it into practice with the same desire as the sympathizer. When a powerful person provides the benefit of power or a sympathizer receives it, the sympathizer becomes the same desire and becomes the subject of martial law enforcement. Here, the desire of the other, which is obscured, generalizes martial law practiced by inappropriate powerful and sympathizers as another object of desire and acts like a victor of war. However, when martial law as an act overshadowed by reversible light is not generalized as a public act, inappropriate power and sympathizers are antagonized by the desire of the other as a subject who implements it according to the general desire of the others.

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

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

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 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.

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

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 296-BTS New York Times Square Performance, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work

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

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

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

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

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

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

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

Louis Chul-joo Choi, be made up by a person who gives love, a hand-painted picture on a computer, 2024 ■ Cartoonist Choi Chul-joo, K-POP Star (20) BTS New York Times Square Performance : A line News of Choi Chul-joo’s Manwha Review (2020.1.2.) / Reporter Choi Chul-joo’s Cartoon Review

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

Desire Concept Realistic Abstract Work: In front of the bamboo forest h296-BTS New York Times Square Performance: 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 239-BTS New York Times Square Performance: 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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest i239-BTS New York Times Square Performance: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i239-BTS New York Times Square Performance-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i239-BTS New York Times Square Performance-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

Louis Choi chuljoo, morning glory p132-5-BTS New York Times Square Performance, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p132-5-BTS New York Times Square Performance: 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.

Louis Choi chuljoo, morning glory p133-1-7-BTS New York Times Square Performance, 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: <morning glory p133-5-BTS New York Times Square Performance> 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 p133-1-7-BTS New York Times Square Performance> becomes a non-real abstraction of reality.

Louis Choi chuljoo, morning glory p133-1-23-BTS New York Times Square Performance, a hand-painted picture on a computer

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p133-1-23-BTS New York Times Square Performance" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection

Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest i239-BTS New York Times Square Performance-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory

Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p132, a hand-painted picture on a computer

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

Final image superimposed on the artist's work:: Louis Chul-joo Choi, the Missing pond, 112X249cm, acrylic and composite materials on cloth, 2024:

The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.

Louis Chul-joo Choi, Chungha, shows outstanding performance 9 ː l’interprétation du mot dans une nouvelle caricature] ■ newsmanwha K-Pop Song illustratoin [18] Chungha, shows outstanding performance. ACN ・ 2020. 7. 13. 23:25/ Reporter Choi Chul-joo’s Cartoon Review/ 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./ 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.

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