개념추상실재학｜개념추상실재학자 최철주 개념추상실재론 3

Conceptual Abstract Practical Science 3

개념추상실재학 [3] 개념추상실재미술학자 최철주는 개념추상에서 디자인의 예술적 가치과정을 살펴보고 시각미술에서 욕망이론을 통해 디자인의 의미에 접근하는 개념적 추상의 실재 이미지가 욕망 개념의 언어적 의미 구조로서 학문으로 나타나는 개념추상실재학임을 정의한다. 따라서 문화디자인박사인 최철주는 현대미술비평과 함께 현대미술의 미적 가치, 과정, 실재성을 추상화디자인이라는 개념으로 접근해서 회화작품의 의미를 언어문법구조로 접근한 개념추상실재학을 상정(想定)한다. 概念抽象実在学[2]概念抽象実在学者のチェ·チョルジュは、概念抽象でデザインの芸術的価値過程を調べ、視覚美術で欲望理論を通じてデザインの意味に接近する概念的抽象の実在イメージが欲望概念の言語的意味構造として学問で現れる概念抽象実在学であることを定義する。 したがって、文化デザイン博士のチェ·チョルジュは現代美術批評とともに現代美術の美的価値、過程、実在性を抽象化デザインという概念で接近し、絵画作品の意味を言語文法構造で接近した概念抽象実在学を想定する./ Conceptual Abstract Realism Science [2] 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.

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

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

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

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

개념추상실재미술학자 루이 최철주의 욕망 이론과 시각 예술의 매력적인 교차점에서 현실적인 이미지가 등장합니다. 그의 욕망 이론과 개념적 추상 리얼리즘의 틀을 바탕으로 비현실적인 형태의 빛과 타인의 욕망을 바탕으로 가역적인 음영의 흔적으로 개념을 추상화한 예술입니다. 그러나 현실의 장소를 결코 온전히 파악할 수 없는 추상으로 표현하려는 타자의 욕망, 즉 초기 개념 예술의 개념으로서 회화성의 귀환을 설명하는 개념적 추상 리얼리즘의 추상화다./ 개념추상실재학 디자인평론: 가역적 빛의 음영이 만든 기호적 표현 문법 Louis Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025

Louis Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025

가역적 빛의 음영이 만든 기호적 표현 문법

욕망 개념에 미적 표현의 결핍은 다른 사람들의 무의식적인 욕망 개념에 표현이 존재하는 것과 달리 많은 실제 대상과 공시성을 가진다.

따라서, 빛의 가역적 그림자에 의해 만들어진 문법적으로 표현된 추상화에서 상대방의 무의식적인 욕망을 동시에 표현하는 것과 달리, 언어적 표현으로서 미적 구조를 추구하는 추상적 표현은 실제 이미지에서 드러난다.

이것은 기호적인 문법적 오브제에 따른 의도적인 표현이며, 타자가 참여할 수 있도록 하는 추상적인 경험으로 표현된다.

욕망의 개념을 상징하는 표현 이미지, 즉 회화적 표현은 무의식적인 언어적 의미와 추상적 현실 사이의 표현 움직임을 나타내는 실재 이미지에서 욕망의 개념이 결여되었을 때 빛의 가역적인 그림자에 의해 기호적인 미적 구조로 만들어진 추상적 표현이다.

최철주의 욕망 구조에서, 가역적인 빛의 음영 속에서 기호적 문법은 현상적 이미지의 원인을 사건 이미지의 시선 방향에 있는 선 공간에서 타자의 무의식적인 욕망의 징후로서 반복하는 언어적 이미지입니다.

이것은 타자의 욕망 개념의 원형적 오브제에 의해 빛에 의해 오브제가 가려진 후 생성되는 음영적 욕망 이미지입니다. 그 이미지는 상상계에서 언어적 의미와 추상 논리를 문법적 표현으로 분석하는 수학적 함수로 나뉩니다. 이는 이원적 관계이며, 욕망의 개념은 실제 이미지에 해당하는 기호적 오브제에 표현적 욕망 값을 적용하여 실제 이미지와 동일시한다. 따라서 언어적 의미와 추상 논리를 상상계의 문법적 표현으로 분석하는 수학적 함수로서, 표현적 욕망 가치는 실제 이미지에 해당하는 기호적 오브제에 적용되며, 기호적 변수로서의 욕망 가치는 추상적 욕망 체계에서 욕망 기호의 실제 이미지 연쇄로 디자인된 표현적 의미이다..

표현적 의미로서 조선시대 소외된 여인의 춘화는 풍속화에서 욕망값이 큰 구성으로 버드나무 등 사계절의 자연을 배경으로 한 신윤복 건곤일회첩(乾坤一會帖) 화풍의 에로틱한 이미지다. 이것은 병인양요(丙寅洋擾) 때에 프랑스 군대가 강화도 외교장각에서 약탈한 자료를 보관중인 프랑스 국립도서관에 있었던 조선시대 춘화를 모방했다. 따라서 정조 임금과 친화적인 김홍도의 그림일 수도 있다. 그의 그렸던 "춘화"와는 화풍이 다르지만 그의 작품 "호랑이"처럼 실체적 교감을 자아낸다. 그것은 성적 행위를 상상하는 표현적 추상성에 대한 이중적 관계로서 윤리적 풍속화를 넘어서 또 다른 상징으로 분열한 모방적 욕망 디자인을 결합한 본질적 이미지로서의 성적 표현 즉 결핍된 욕망을 보인다.

따라서 표현적 이미지는 사건 이미지의 조각된 욕망이 타자의 욕망 구조에서 가려지기 때문에 현실의 이미지를 무의식적인 욕망 구조로 구성하여 욕망의 불투명한 원인으로 인한 욕망 행동에 의해 차단되어 만들어진 그림자입니다.

치마에 겹쳐진 부분을 생략한 기호 이미지가 표현적 이미지로서 실재 이미지를 대리할때 사실적 구조로서 추상화를 이룬다. 이것은 표현적 이미지가 욕망 개념을 추상한 이미지와 동일한 이미지의 문법적 의미구조를 사용했기 때문이다.

"춘화"를 과거의 액션 이미지로 모방하는 것은 사건과 공연 이미지의 사진 이미지를 욕망의 주체로 묘사하는 최철주의 욕망 개념처럼 추상적인 욕망의 주체 이미지 묘사를 반복적으로 설계하여 이중적인 욕망 구조를 동일한 욕망 이미지로 재구성합니다.

이것은 추상적 욕망 이미지의 주제가 되어 가역적인 빛의 음영으로 그려진 욕망 구조의 작은 조각들을 만들고, 추상적 욕망 개념에서 상대방의 욕망이 요구하는 실제 이미지와 동일한 것을 특정 대상으로 선택하여 상대방의 욕망이 무엇을 원하는지 알아낼 필요성을 갖게 됩니다.

따라서 욕망의 주체로서의 행동은 동일한 타인의 욕망 개념이며, 시대와 배경의 문화적 특성에 맞춘 디자인으로 선택될 수밖에 없는 필연성을 가지고 있습니다.

최철주 욕망 개념에서 빛의 고도와 방향이 명시되지 않는 가역적 빛은 시간성에 따른 존재로서 문법처럼 실재를 구성하는 문법적 이미지를 만드는 원인이 된다. 표현의 문법적 실재의 오브제로서 사건 이미지의 외상적 이미지는 가역적 빛을 존재로서 실재 이미지로 대치되면서 욕망 개념을 말한다. 이 같은 욕망의 공식 <D(I...I')d=I(D...D'i)i>을 통해 오브제로서 사건 이미지의 추상적 욕망 개념에서 분열한 주체로서 의미를 출현한다.

이것은 욕망 개념의 언어적 의미를 대리하는 실재를 이미지로 표상하여서 추상적 욕망을 실제화한 욕망 오브제다.

따라서 상징적 효과 이미지의 조합으로서 언어적 의미가 욕망을 나타내고, 공적 기능으로서 언어적 은유가 전체를 나타내는 표현적 이미지와 상징적 문법 기능으로서 욕망 구조를 구성하는 스케치에 의해 생성된 표현적 이미지가 욕망의 결과를 형성하는 장치가 최철주의 욕망 개념 추상디자인 프로세스 다.

표현적 기호 이미지는 문법적인 문장 해석과 무관한 단어를 상징하는 추상적 의미를 사건 이미지로 보인다. 그러나 문법은 추상적인 비언어적 행위의 논리적 의미를 부여한다. 따라서 욕망의 개념을 문법적 언어 구조로 해석하기 위해 언어적 의미의 추상적 상징 패턴을 반복적으로 디자인하고, 욕망의 개념과 동일한 이미지를 의식과 개념 디자인으로 나누는 언어적 의미와 상징적 이미지로 식별한다.

또한, 식별된 문법에서 욕망 개념의 언어적 의미와 상징적 이미지가 욕망 객체로 명확하게 정의될 때, 존재의 이미지는 놀랍게도 빛에 의해 드러난다.

시간성에서 빛의 광점에서부터 가역적 빛으로서 오브제로서 질료를 실재 이미지로 연출한다.

사건의 이미지를 반영하는 연못에서 추상적인 욕망의 개념은 현실 세계의 다른 사람들의 욕망을 거울처럼 반영하여 표현됩니다.

최철주의 욕망 개념, 즉 현대 미술이 등장하는데, 형이상학적 철학적 빛에서 강조된 언어적 의미의 개념과 충돌하는 그림이 인공 조명으로 극적인 사건 이미지를 만들어낸다.

사건의 이미지를 반영하는 연못에서 추상적인 욕망의 개념은 현실 세계의 다른 사람들의 욕망을 거울처럼 반영하여 표현된다. 최철주 작가의 추상적인 욕망 개념, 즉 형이상학적 철학적 관점에서 현대 미술이 등장하고 강조되는 언어적 의미 개념과 충돌하는 그림들은 인공 조명과 함께 극적인 사건 이미지를 만들어낸다. 그는 어두운 현존 공간에서 시간성에 중첩되는 가역적 빛의 음영으로 하얀 빛에서 흰색을 공유하는 공간의 오브제로서 여러개의 사건 이미지를 각각 몽타주처럼 조명한다.

이것은 회화에서 18세기 유물론과는 달리 물리적 지각이 아닌 욕망적 추상으로 자아를 넘어서 타자의 욕망을 오브제로서 사건 이미지를 결핍된 욕망의 주체로 해석한다.

이원론적 오브제의 상상적 기호표현으로서 표현적 욕망 개념과 표현 행위로서 사건 이미지의 간극을 언어적 의미로서 오브제의 주체와 실재를 동일시한다. 여기서 주체는 기호표현의 영향으로 욕망 개념의 오브제로서 공간 구성의 원리에 맞추어 실재로서 추상 이미지를 연출하여서 결핍된 욕망을 의미한다. 실재로서 이미지의 추상은 오브제의 색을 빛의 반사로 인식하지 않고 정해진 오브제의 상징색이 빛의 조명으로 음폐되어서 결핍된 구조에서의 오브제를 상징하는 언어적 의미에서 결핍된 이미지로서의 실재를 동일한 구조로 해석한다. 여기서 사물의 이미지가 말하는 욕망의 개념을 사건 이미지로 연출하는 것이 최철주의 욕망 개념 추상디자인 프로세스 다. 이것은 시각 정보가 추상적인 방식이 아닌 가역적인 빛의 그림자로 인식되는 오브제의 상징색을 무의식적으로 경험하면서 욕망의 개념을 구성이다. 따라서 경험의 방식으로 오브제의 언어적 의미에서 오브제의 상징색을 이미지 색으로 파악하기 위해 최철주 욕망 공식을 반복적으로 디자인한다.

오브제의 상징색은 대상의 구조를 언어적 의미로서 형이상적으로 인식하여서 실재를 구성하는 미적 역할을 한다. 실재를 미적 구조로 표현하는 것은 욕망 체계를 관리하는 추상적인 개념이 언어적 의미로 정의된 것으로 색상으로 색으로 표현하는 추상적 회화 방식이다,

여기서 특정 존재로서의 오브제는 추상적인 욕망을 추구하는 과정에서 실재를 상징하는 언어적 의미의 이미지이며, 색과 실존적 가치를 디자인하는 오브제의 욕망 구조가 결여된 개념을 충족시켜 욕망을 충족시키는 향유적 실재 이미지다.

향유적 실재 구조는 대상의 주체와 욕망의 개념 사이의 언어적 의미 관계를 나타내며, 주체는 가역적인 빛의 그림자처럼 실재 이미지의 영향을 받는다.

따라서 인식된 색상으로 욕망을 표현하는 특정 객체는 가역적인 빛의 음영으로 추상화된 합리적인 욕망의 실제 이미지로 일반화되는 추상화로 변환되며, 상대방의 욕망은 일관된 의미에서 쾌락을 경험하는 선 공간에 대한 욕망의 실재를 꾸민다./글. 현대 미술평론가 최철주 (문화디자인박사)

Louis Chul-joo Choi, morning glory 2025-3-Symbolic representation grammar generated by reversible shades of light, 114X210cm, acrylic and composite materials on cloth, 2025

Symbolic representation grammar generated by reversible shades of light

The lack of aesthetic expression in the concept of desire has many real objects and expressions, unlike the expression in other people's unconscious concept of desire.

Thus, unlike simultaneous expression of the other person's unconscious desire in grammatical expression abstractions created by reversible shadows of light, abstract expressions pursuing aesthetic structures as linguistic expressions are revealed in real images. This is an intentional representation according to symbolic grammatical objects, and is represented as an abstract experience that allows others to participate.

An expression image that symbolizes the concept of desire, or a pictorial representation, is an abstract expression made into a symbolic aesthetic structure by the reversible shadow of light when the concept of desire is lacking in the real image that represents the movement of expression between unconscious linguistic meaning and abstract reality.

In Choi Chul-joo's desire structure, symbolic grammar in a reversible shade of light is a verbal image that repeats the cause of the phenomenal image as a sign of the unconscious desire of the other in the line space in the gaze direction of the event image.

This is a shadowy desire image created after the object is hidden by light by the circular object of the concept of desire of the other.

The image is divided into a mathematical function that analyzes linguistic meaning and abstract logic as grammatical expressions in the imagination world. This is a binary relationship, and the concept of desire is the same as the real image by applying the expressive desire value to a symbolic object corresponding to the real image. Thus, as a mathematical function that analyzes linguistic meaning and abstract logic as grammatical expressions in imagination, expressive desire values are applied to symbolic objects corresponding to real images, and desire values as symbolic variables become expressive meanings designed as a chain of real images of desire symbols in abstract desire systems.

In an expressive sense, the pornography of a woman alienated from the Joseon Dynasty is an erotic image in the style of a book called Shin Yoon-bok's "Chunhwa (Gyeon-Gon-Il-Hoe 乾坤一會帖)" against the backdrop of four seasons such as willow trees, It imitated the Joseon Dynasty's Spring Flower at the National Library of France, where the French army kept materials stolen from Ganghwa Island's "Oegyujanggak (外奎章閣)" during the reign of King Byeonginyangyo (丙寅洋擾). Hence, it may be the painting of Kim Hong-do, who is friendly to King Jeongjo. Although the painting style is different from that of his a pornographic painting (春画), it creates a connection just like his work Tiger.

The painting style is different from that of his painting(春画), but like his work, 'Tiger', the actual expression of sympathy creates a connection. And has a high desire value in genre painting. This is a dual relationship with expressive abstraction that imagines sexual behavior, and it shows sexual expression, that is, a lack of desire, as an essential image that combines imitative desire design divided into another symbol beyond ethical genre painting.

Therefore, the expressive image is a shadow created by being blocked by the desire behavior caused by the opaque cause of desire by constructing the image of reality as an unconscious desire structure because the sculpted desire of the event image is obscured from the desire structure of the other.

When a symbolic image in which the overlapping part of the skirt is omitted represents the real image as an expressive image, it forms an abstraction as a realistic structure. This is because the expressive image used the same grammatical semantic structure as the image that abstracted the concept of desire.

Imitating "Chunhwa" as an action picture of the past time reconstructs the dual desire structure into the same desire image by repeatedly designing the description of the subject image of abstract desire, just like Choi Chul-joo's concept of desire, which depicts the photographic image of events and performance images as the subject of desire.

This becomes the subject of the abstract desire image to create small pieces of the desire structure drawn in reversible light shades and to have the necessity of choosing the same thing as the actual image required by the other's desire in the abstract desire concept as a specific object to find out what the other's desire wants.

Therefore, the action as the subject of desire is the concept of desire of the same other and has the inevitability to be selected as a design tailored to the cultural characteristics of the times and the background.

In Choi Chul-joo's concept of desire, reversible light, whose altitude and direction of light are not specified, is a being according to temporality and is the cause of creating a grammatical image that constitutes reality like grammar. The traumatic image of an event image as an object of the grammatical substance of an expression refers to the concept of desire to replace reversible light with real existence. Through Choi's desire formula <D(I am...)d=I(D...D'I)i>, meaning appears as the meaning of a separate subject in the abstract concept of desire as an object in the event image.

This is a desire object that realizes abstract desire by representing reality that represents the linguistic meaning of the concept of desire as an image.

Therefore, Choi Chul-joo's desire concept abstract design process is a device in which the expressive image, in which the verbal meaning represents desire as a combination of symbolic effect images and the verbal metaphor represents the whole as a public function, and the expressive image created by the sketch, which constitutes the desire structure as a symbolic grammatical function, forms the result of desire.

Representation images show abstract meanings that represent words that are not related to grammatical sentence interpretation as event images; however, grammar gives logical meaning of abstract nonverbal behavior.

Thus, to interpret the concept of desire as a grammatical linguistic structure, we repeatedly design abstract symbolic patterns of linguistic meaning, and identify images identical to the concept of desire as linguistic and symbolic images that divide them into consciousness and conceptual design.

In addition, when the linguistic meaning of the concept of desire and the symbolic image are clearly defined as desire objects in the identified grammar, the image of existence is surprisingly revealed by light.

As a reversible light from the point of light in temporality, the material is produced as a real image as an object.

In a pond reflecting the image of an event, the concept of abstract desire is expressed by reflecting the desires of others in the real world like a mirror.

Choi Chul-joo's concept of desire, modern art, emerges, in which a painting that collides with the concept of the linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting.

In a pond that reflects the image of an event, the concept of abstract desire is expressed by reflecting the desires of others in the real world like a mirror.

Paintings that conflict with Choi Chul-joo's abstract concept of desire, that is, the linguistic concept of meaning in which modern art emerges and is emphasized from a metaphysical philosophical point of view, produce dramatic event images with artificial lighting.

In dark conventional space, he illuminates several event images like montage as objects that share reversible shades of light and white light overlapping with temporality.

Unlike 18th-century materialism in painting, this interprets the desire of the other as an object beyond the self as a desire abstract rather than a physical perception.

As an imaginary symbolic expression of a dualistic object, the gap between the concept of expressive desire and the image of an event as an act of expression equates the subject and reality of the object as a linguistic meaning. Here, the subject refers to what is the lack of desire by directing an abstract image as a reality in accordance with the principle of spatial composition as an object of the concept of desire under the influence of symbolic expression.

To abstract an image into reality, the color of an object is not recognized as a reflection of light, and the symbolic color of the object is obscured by the illumination of light, so that it is interpreted in the same structure as the image that lacks the linguistic meaning that symbolizes the object. The abstract design process of Choi Chul-joo's concept of desire is to produce the concept of desire spoken by the image of an object as an event image.

This is the structure of the concept of desire as visual information unconsciously experienced the symbolic color of an object perceived as a reversible shadow of light rather than an abstract way. Therefore, in order to identify the symbolic color of the object as the image color in the linguistic sense of the object in a way of experience, the Choi Chul-joo Desire Formula is repeatedly designed.

symbolic colors of objects play an aesthetic role in constructing reality by recognizing the structure of objects in a linguistic sense. The expression of reality as an aesthetic structure is an abstract painting method in which the abstract concept of managing a system of desire is expressed in color as being defined in a linguistic sense,

Here, the object as a specific being is an image in a linguistic sense that symbolizes reality in the process of pursuing abstract desire, and it is a enjoyment reality image that satisfies desire by satisfying the concept that lacks the desire structure of the object that designs color and existential value.

The enjoyment reality structure represents the linguistic semantic relationship between the subject of the object and the concept of desire, and the subject is influenced by the real image, like a shadow of a reversible light.

As such, certain objects expressing desires in recognized colors are transformed into abstractions that are generalized as real images of rational desires abstracted into reversible shades of light, and the other's desires create the reality of desire for line space that experiences pleasure in a consistent sense.

Louis Chul-joo Choi, It is hell for a lover to support love 12, a hand-painted picture on a computer

Concept Abstract Reality Design is a unique art and design theory proposed by Dr. Choi Chul-joo, a philosophical approach that explores the relationship between conceptual abstraction and reality in a linguistic and symbolic structure. This theory theorizes that design in the visual art of conceptual abstraction, which analyzes the artistic value and meaning of design as an abstract concept that reflects the structure of desire and meaning, not just a visual expression, is interpreted like language grammar and theorizes it as a realistic image that analyzes the meaning of paintings. The conceptual abstract reality design process sees design as a symbolic structure, plans the concept of realism abstraction through abstract objects, combines it with contemporary art criticism, reconstructs and visualizes aesthetic values and reality into the framework of abstract design, and interprets the meaning of real images into a language grammar structure to expand the philosophical depth of design academically.

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

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

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

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

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

Louis Chul-joo Choi, morning glory p135-5-1, 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 desir 5e image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire.

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

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

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

Louis Choi Chul-joo, Morning glory and fish-Mona Lisa design, 113X165cm, acrylic and composite materials on cloth, 2025

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.

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.

Louis Chul-joo Choi, morning glory p135-6, a hand-painted picture on a computer

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

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

The 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.

Louis Choi Chul-joo, Like the book "「玉菊燈籠」13, a lover's love is hell, a hand-painted picture on a computer

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning gnlory 2021-e-1" 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.

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.

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

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

Louis Choi Chul-joo, Like the book "「玉菊燈籠」, a lover's love is hell, a hand-painted picture on a computer

News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's Korean News Cartoon Culture Column in Cartoon Review [203] Like the book "「玉菊燈籠」, a lover's love is hell., (2024-7-14) / Reporter Choi Chul-joo’s Cartoon Review

. Like the book "「玉菊燈籠」, a lover's love is hell.

. Comme le livre "玉菊燈籠", l'amour d'un amant, c'est l'enfer.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Like the book "「玉菊燈籠」, a lover's love is hell: 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 251-Like the book "「玉菊燈籠」, a lover's love is hell: 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 Forest i251-Like the book "「玉菊燈籠」, a lover's love is hell: 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 Forest i251-Like the book "「玉菊燈籠」, a lover's love is hell-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 Forest i251-Like the book "「玉菊燈籠」, a lover's love is hell-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.

Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Like the book "「玉菊燈籠」, a lover's love is hell: 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 249-Like the book "「玉菊燈籠」, a lover's love is hell: 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 Forest j249-Like the book "「玉菊燈籠」, a lover's love is hell: 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 Forest j249-Like the book "「玉菊燈籠」, a lover's love is hell-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 Forest j249-Like the book "「玉菊燈籠」, a lover's love is hell-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.

"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 Choi chuljoo, morning glory p135-3, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p135-3-Like the book "「玉菊燈籠」, a lover's love is hell-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.

The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "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 p135-3> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Trump gets attacked during the campaign> 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 p p135-3-Like the book "「玉菊燈籠> becomes a non-real abstraction of reality.

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

Louis Choi chuljoo, morning glory p135-5, a hand-painted picture on a computer

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p p135-3-Like the book "「玉菊燈籠 " 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 Forest j249-Like the book "「玉菊燈籠」, a lover's love is hell-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

Louis Choi chuljoo, morning glory p133-1-19-Like the book "「玉菊燈籠」, a lover's love is hell-pond-mirror 2, a hand-painted picture on a computer

Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p133-1-19-Like the book "「玉菊燈籠」, a lover's love is hell-pond-mirror 2: 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.

Louis Choi chuljoo, morning glory p133-1-20, 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 p133-1-29> 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 <Trump gets attacked during the campaign> 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 p133-1-20> becomes a non-real abstraction of reality.

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

Louis Choi chuljoo, morning glory p133-1-20, a hand-painted picture on a computer

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

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

Therefore, conceptual abstract painter Louis Choi Chul-joo's "morning glory p133-1-20" 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 Chul-joo Choi, morning glory 133-1, a hand-painted picture on a computer

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

Louis Choi chuljoo, morning glory p133-1-19-Like the book "「玉菊燈籠」, a lover's love is hell-pond-mirror 2 [The interpretation of words in a cartoon news ː l’interprétation du mot dans une nouvelle caricature] ■ Korean News Cartoon Culture Column in Cartoon Review [188] Trump gets attacked during the campaign, (2024-7-14) / Reporter Choi Chul-joo’s Cartoon Review / 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. ▶during the campaign_ pendant la campagne ■ 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Louis Chul-joo Choi, morning glory p135-Poster installation, a hand-painted picture on a a computer