개념추상실재학 디자인｜Realism Design
개념추상실재학 디자인｜Conceptual realism design 1
개념추상실재학 디자인｜Conceptual abstract realism science design [1} 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. Conceptual Abstract Realism Science [1] Conceptual Abstract Realism Art Scholar Choi Chul-joo examines the artistic value process of design in conceptual abstraction and defines that the real image of conceptual abstraction, which approaches the meaning of design through desire theory in visual art, is a conceptual abstract realism that appears in science as a linguistic semantic structure of desire concept. Therefore, along with modern art criticism, Dr. Choi Chul-joo, a cultural design doctor, approaches the aesthetic value, process, and reality of modern art with the concept of abstract design, and assumes conceptual abstract realism in which the meaning of the painting is approached with linguistic grammatical structure.
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. 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: 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 science 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:
리얼리즘 아티스트 루이 최철주의 욕망 이론과 시각 예술의 매력적인 교차점에서 현실적인 이미지가 나타납니다. 그의 욕망 이론과 개념 추상적 리얼리즘의 틀을 바탕으로 비현실적인 형태의 빛과 타인의 욕망을 바탕으로 가역적인 음영의 흔적으로 개념을 추상화한 리얼리즘 예술이다. 개념추상실재학 디자인은 최철주의 추상적 욕망 이론을 통해 현대 미술과 디자인의 미적 가치, 과정, 현실을 탐구하는 예술 및 디자인 이론입니다. 개념 추상적 현실은 현실을 단순히 재현하기 위해 구체적인 형태가 아닌 아이디어, 개념, 욕망과 같은 추상적 요소를 디자인합니다. 또한, 실제 존재, 의미, 언어 구조 등 욕망의 개념을 추상화하는 과정을 통해 언어 문법 구조로서의 시각 예술 등 다양한 이론적 틀을 통해 예술적 가치와 과정을 분석하고, 추상적 개념을 통해 구체적인 디자인에 새로운 의미를 부여함으로써, 개념적 추상 디자인은 추상적 개념과 실질적 의미를 결합하여 시각 디자인의 한계를 넘어 새로운 이미지 해석 및 창작 방법을 제안하는 이론입니다. A realistic image emerges from the attractive intersection between the theory of desire and visual art by Louis Choi Chul-joo, a realism artist. Based on his theory of desire and the framework of conceptual abstract realism, it is a realist art that abstracts concepts with traces of reversible shades based on unrealistic forms of light and the desires of others. Conceptual Abstract Realism Science design is an art and design theory that explores the aesthetic values, processes, and realities of modern art and design through Choi Chul-joo's theory of abstract desire. Conceptual Abstract Reality designs abstract elements, such as ideas, concepts, and desires, rather than concrete forms, to simply reproduce reality. In addition, by analyzing artistic values and processes through various theoretical frameworks such as visual art as a language grammar structure through the process of abstracting the concept of desire such as real existence, meaning, and language structure, and giving new meaning to concrete design through abstract concepts, conceptual abstract design is a theory that combines abstract concepts and practical meanings to propose new image interpretation and creation methods beyond the limits of visual design./ 개념추상실재학 디자인 평론: Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X165cm, acrylic and composite materials on cloth, 2024 & Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025
Louis Chul-joo Choi, Like the movie Ophelia, false love and war between countries end their deaths 1, a hand-painted picture on a computer
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 접근한다.
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 이미지다.
만평/ 카툰 만평 뉴스 & 한국 뉴스 만화평론 Review of Korean News Cartoon [205] 분쟁종말·忿爭終唜: 영화 “오필리아”처럼 어긋난 사랑과 나라간 전쟁은 죽음으로 끝난다. Like the movie Ophelia, false love and war between countries end their deaths (2025-5-12) / 최철주 프리랜서 기자(Reporter Choi Chul-joo’s Cartoon Review
리얼리즘 아티스트 루이 최철주의 욕망 이론과 시각 예술의 매력적인 교차점에서 현실적인 이미지가 나타납니다. 그의 욕망 이론과 개념 추상적 리얼리즘의 틀을 바탕으로 비현실적인 형태의 빛과 타인의 욕망을 바탕으로 가역적인 음영의 흔적으로 개념을 추상화한 리얼리즘 예술이다. 개념추상실재학 디자인은 최철주의 추상적 욕망 이론을 통해 현대 미술과 디자인의 미적 가치, 과정, 현실을 탐구하는 예술 및 디자인 이론입니다. 개념 추상적 현실은 현실을 단순히 재현하기 위해 구체적인 형태가 아닌 아이디어, 개념, 욕망과 같은 추상적 요소를 디자인합니다. 또한, 실제 존재, 의미, 언어 구조 등 욕망의 개념을 추상화하는 과정을 통해 언어 문법 구조로서의 시각 예술 등 다양한 이론적 틀을 통해 예술적 가치와 과정을 분석하고, 추상적 개념을 통해 구체적인 디자인에 새로운 의미를 부여함으로써, 개념적 추상 디자인은 추상적 개념과 실질적 의미를 결합하여 시각 디자인의 한계를 넘어 새로운 이미지 해석 및 창작 방법을 제안하는 이론이다.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest b262-Like the movie Ophelia, false love and war between countries end their deaths-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
최철주의 욕망 공식은 I/I(이미지)와 D/d(디자인)를 기호로 사용하여 디자인 이미지의 수를 이벤트 및 퍼포먼스 이미지와 연결하여 다항식 욕망 이미지를 생성하는 곱셈 공식입니다. 이미지를 기호로 하는 언어적 의미는 욕망의 추상적인 개념을 식별하고자 하는 욕망의 개념을 이미지(I/I)로 표현한다.
추상 예술가로서 최철주의 현대 개념미술은 타인의 욕망에 따라 비현실적인 존재로서 빛의 실체적 형성성과 가역적 그림자라는 개념을 추상화한 추상미술입니다. 이는 실체를 대체하고자 하는 타자의 욕망, 즉 실체를 표현하고자 하는 타자의 욕망을 추상화다.
최철주의 욕망 개념 추상 디자인 개념은 낭만주의에서 추상으로 변모한 현대 추상 개념을 현대 미술 운동에서 출발하여 실제 이미지로 구현한 새로운 추상 미술 방법론으로써 하나의 개념 예술은 추상적인 장소가 아닌 선택자의 욕망이라는 개념으로 이중적인 장소를 만들고, 이중적인 장소에서 추상적인 개념 예술을 추월하며, 선택자가 원하는 추상적으로 결핍된 욕망 구조를 주체로 하여 현실 이미지를 의미적 실체로 반복적으로 설계합니다.
Louis Chul-joo Choi, morning glory p132-6, a hand-painted picture on a computer
최철주의 욕망 공식은 I/I(이미지)와 D/d(디자인)를 기호로 사용하여 디자인 이미지의 수와 이벤트 및 퍼포먼스 이미지를 연결하여 다항식 욕망 5e 이미지를 생성하는 곱셈 공식입니다. 이미지를 기호로 하는 언어적 의미는 욕망의 추상적 개념을 식별하고자 하는 욕망의 개념을 이미지(I/I)로 표현한다.
추상 예술가로서 최철주의 현대 개념미술은 타인의 욕망에 따라 비현실적인 존재로서 빛의 실체적 형성성과 가역적 그림자라는 개념을 추상화한 추상미술입니다. 이는 실체를 대체하고자 하는 타자의 욕망, 즉 실체를 표현하고자 하는 타자의 욕망을 추상화한 리얼리즘 이미지다.
최철주의 욕망 개념 추상 디자인 개념은 낭만주의에서 추상으로 변모한 현대 추상 개념을 현대 미술 운동에서 출발하여 실제 이미지로 구현한 새로운 추상 미술 방법론으로써 하나의 개념 예술은 추상적인 장소가 아닌 선택자의 욕망이라는 개념으로 이중적인 장소를 만들고, 이중적인 장소에서 추상적인 개념 예술을 추월하며, 선택자가 원하는 추상적으로 결핍된 욕망 구조를 주체로 하여 현실 이미지를 의미적 실체로 반복적으로 설계합니다.
Louis Chul-joo Choi, morning glory window 2024-4-Memories, 147X143cm, acrylic and composite materials on cloth, 2024
욕망의 현실을 설계하는 도형의 개념적 미학은 미적 경험을 삶의 가치로서 객관적 현실로 추상화하려는 경험적 욕망의 부족을 설계한 결과이며, 필요한 대상의 부족을 충족시킴으로써 실제 이미지로부터 형성적 가치를 얻습니다. 여기서 욕망의 대상은 불충분하며 경험적 의식 움직임을 통해 의미적 상관관계를 얻고자 하는 상대방의 욕망 개념을 따릅니다. 따라서 욕망의 구조로서의 실제 이미지는 욕망이라는 개념으로 인해 현실 세계에서 그림자 이미지를 생략하고 빛의 범위에 배치함으로써 기존의 관행에 부합하는 미적 가치를 지니고 있으며, 현실 주체의 구조와 현실의 본질에 정착합니다. 빛의 가역적인 그림자 속에서 개념을 귀납적으로 조명함으로써 이미지의 언어적 의미와 실제 현상을 명확하게 구현한다.
개념적 추상 배경인 '나팔꽃'의 비유적 의미는 의미의 색이 빛의 색으로 대상을 바라보는 관습적 보편성의 현실을 장식한다. 이것은 어두운 빈 공간은 피사체의 영역에 만들어진 그림자로, 장식된 형태의 빛과 대조를 이룹니다. 여기서 색은 실제 사물로서 시선을 통해 보이는 욕망 관습의 단상 이미지입니다. 이는 모방된 꽃으로 욕망의 개념을 상징하는 욕망의 배경을 상징하는 언어적 이미지다. 여기서 나팔꽃 이미지는 욕망 이미지의 결과로 현실 공간에서 기호적 욕망의 의미로서의 이미지의 조각이다.
Louis Chul-joo Choi, morning glory p132-6-1, a hand-painted picture on a computer
"나팔꽃"은 가역적인 시간성에 존재하는 욕망 개념의 부재를 현상적 이미지로 표현하며, 중간 단계에서 가역적인 빛의 그늘에 가려진 욕망의 구조를 표현합니다. 이는 현재의 추상적인 색상과 평면 구조를 넘어 다양한 욕망의 존재를 나타냅니다. 그리고 가역적 시간성에서 욕망 개념의 부재를 현상적 이미지로 표현함으로써, "나팔꽃"은 중간 단계에서 가역적인 빛의 그늘에 가려진 욕망으로부터 현실의 구조를 추상화하기 위해 반사된 거울 이미지를 표현합니다. 이는 현재의 추상적인 색채와 평면 구조를 넘어서는 다양한 욕망의 존재를 구성한다.
Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025
현재의 욕망을 반영한 연못 스케치
최철주의 욕망 이미지는 하나의 대상이며, 욕망을 명시하는 시사 뉴스의 통시적 욕망으로서 추상적 욕망 개념의 언어적 의미를 나타내는 이미지로 연못에 비친다.
그 연못에서 비친 오브제가 스스로의 욕망에 지배되어서 그 욕망의 주체를 잃어버린 실재로 명시된 물리적 구조는 연속되는 욕망의 현상적 주체 이미지로서 통시적(diachronic) 욕망을 대리한다.
최철주 욕망 공식을 통해 통시적 욕망에서 미적 구조를 디자인하고 적용함으로써 현상적 주체, 즉 존재로서의 실체적 객체가 형성되는 과정을 기표 이미지로 보여준다. 통시적 욕망의 경로는 욕망 공식을 적용하여 욕망 구조의 추상적 디자인부터 실제 이미지의 설치까지다.
이것은 시각영역에서 존재로서 욕망 이미지를 실재 이미지로 인지하여서 타자의 무의식의 욕망적 관점에서 오브제로서 사건 이미지를 뉴스로 전달하고, 그 오브제를 존재로서 현상적 이미지로 인지한다.
여기서 거울 구조의 연못에서 현상적 이미지의 주체를 추상화하는 존재는 언어적 의미에서 기표 이미지로 분열해서 사회적 가시성이 결핍된 욕망의 이미지를 만들어낸다. 그 이미지는 지속적인 욕망의 조각이 사회 구조에 반영된 연못에서 구성된다. 그 연못의 수면은 거울처럼 현실의 이미지를 반영한다. 이는 이상적인 미적 구조로 타자의 욕망을 추상화하여 재현하고자 하는 현대 사실주의 회화의 이미지로 인식한다. 이것은 연못에서 사건과 공연의 현장을 반영하고 타인의 욕망을 현실과 함께 보는 주체로서의 자아의 욕망 상호작용에 의해 만들어진 이미지다.
따라서 욕망을 연결하는 욕망 개념의 추상적 디자인 과정과 미적 구조로서의 현상적 이미지의 설계를 통해 최철주의 추상적 디자인 과정을 적용하여 욕망의 개념을 실제 이미지로, 타자의 욕망 속에서 드러나는 왜곡된 이미지를 동일한 욕망 개념으로 표현한다.
근대까지 종교적 제약에 중첩된 르네상스 시대의 과학적 사고에서의 레온 바티스타 알베르티 (Leon Battista Alberti)의 회화론 즉 원근법적 구성으로 한 피사체의 비례와 개념에서 연속된 동시대의 추상적 욕망 개념을 다자인한 것이 최철주의 욕망 공식이다. 이것은 현대 이상적 추상과는 다르게 욕망 개념의 언어적 의미를 그의 추상 디자인 프로세스를 통해서 가역적 빛의 음영으로 알베르티의 원근법을 회귀하여서 욕망 구조를 실재 이미지로 구현한다.
욕망 구조의 실재 이미지는 타자의 욕망에서 응시하는 추상적 공간에서 사건 이미지를 오브제로 응시영역에서 순간적으로 욕망 구조와 동일시됨으로써 인지하게 된다. 이것은 은폐된 타자의 무의식에 억압된 욕망이 표출한 것이다. 이렇게 인지하게 되는 오브제의 시각적 특성은 존재성과 추상성이다.
Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X164cm, acrylic and composite materials on cloth, 2024
응시적 이미지로서 오브제의 연속적인 형태와 욕망의 구조의 불변성은 시간이 지남에 따라 동일한 욕망의 개념으로 인식될 때 순간적인 이미지로 응시된다. 그 욕망의 오브제는 시간이 지남에 따라 다른 배경으로 나타나지만 그 실체는 변하지 않고 응시하는 시점이 왜곡된 이미지로 보이도록 전이된다. 최철주의 추상적 디자인 과정은 빛의 가역적 그림자 속에서 만들어진 욕망의 오브제을 타인의 욕망으로 바라보고자 하는 욕망의 개념에서 비롯된 시선으로 보는 왜곡된 이미지로 이를 실현한다.
여기서 왜상적 이미지로서 <나팔꽃>은 욕망의 배경으로서 욕망의 구조를 말한다. 따라서 그림의 배경이 아니라 욕망의 한 조각으로서 레오나르도 다빈치의 데생 <아르노 풍경>처럼 풍경을 하나의 주체로서 <나팔꽃>은 실제로 보이는 욕망을 나타내는 배경이다. 이 개념적 추상화는 욕망의 시선에 집중하기 위해 오브제를 평평한 구조의 실제 공간과 정렬하여 평면적으로 왜곡한다. 그 욕망 개념의 언어적 의미에서 사건과 공연의 이미지는 만화 이미지로서의 '나팔꽃'과 가역적인 빛의 그림자 속 사건 이미지로 동일한 평면 구조로 그려지고, 이를 사건 이미지와 겹칩니다. 또한 현존재하는 욕망의 이미지에 비친 연못을 가역적인 빛의 음영으로 장식하여 주체로서의 욕망의 자리를 꾸민다.
연못에 비친 이미지를 주체로 형성하는 존재 속의 욕망 개념은 기존 공간 구조에서 오브제로서의 욕망 개념과 직접적으로 관련된 헤겔의 존재(Existenz)로서의 추상적인 부존재를 실현하는 주체로서의 비자발적 부지불식간의 욕망 구조 이미지다.
추상적 비존재로부터 인지적 시선을 인식하는 과정을 통해 욕망의 개념은 사건의 이미지를 시각적 디자인으로 디자인하고 시선 지각을 통해 존재하는 대상의 형성적 미적 가치를 형성하는 대상으로 인식됩니다. 이렇게 형성된 이미지는 현대의 미적 가치를 드러내고 타인의 욕망이라는 개념을 통해 이미지의 실체를 해석한다. 이는 욕망 구조의 영역에서 타자의 시선에 의해 오브제를 생성하는 과정을 추상적인 디자인에 적용하고, 그 결과 오브제와 욕망 오브제의 현실에서 분리된 타자로서의 욕망 이미지를 왜곡하는 것이다. 따라서 타자의 욕망 구조를 드러내는 으브제를 형성하고 인식 가능한 다른 기존 이미지로 전이한다. 여기서 시간성은 현존재의 시각적 구조를 형성하는 실제 이미지를 가역적인 빛의 음영으로 이끌어 가역적인 공간 구조를 확보한다.
새로운 수학적 도형 구조는 욕망 개념의 결과로 미적 구조를 디자인하려는 추상적인 최철주의 욕망 공식이다 그 추상적 욕망의 개념은 사건의 이미지 속에서 타인의 욕망에 대한 미적 의미를 가질 때 욕망을 실현하는 추상적인 개념으로 타인의 욕망 구조를 의미한다.
현재의 욕망을 반영하는 연못 랜더링
욕망의 미적 구조로서 주체는 오브제로서 사건 이미지와 동일한 욕망 개념을 무의식과 실재 이미지로 분열하여서 무의식적 욕망를 존재적 실재로서 모델링한 팝아트적 이미지다.
따라서 언어적 의미를 말하는 주체는 뉴스에서 방송한 사건과 이미지로 발화행위(enunciation)로서 구어체 언어와 사건 영상 방송의 시청 효과를 뉴스에 의존하는 요소들을 특정하는 하나의 발화(發話)행위의 언표적 미적 구조로서 욕망 개념의 진릿값인 추상화를 실재로 표상한다.
따라서 언어적 의미를 실재를 말하는 주체는 추상화, 즉 욕망 개념의 진릿값을 나타내며, 이는 구어체와 사건 비디오 방송의 시청 효과를 뉴스에 의존하는 발화 행위(enunciation)로 명시하는 표상적 미적 구조다. 이것은 시각적 이미지의 욕망 개념은 개방계로서 수많은 시각이미지를 다원적인 시각체계를 통해 타자들에게 전달되기 때문이다. 욕망 개념의 진릿값인 추상적 이미지는 타자의 욕망에서 표출된 실재 이미지로 보편성을 가지고 있기 때문에 주목을 받게 된다. 즉 타자의 추상적 욕망에서 드러난 오브제는 예술 작품으로 적용되는 팝아트의 통시적 기능을 통해서 타자의 욕망 개념과 동일한 미적 이미지를 교환하는 욕망 기능을 한다.
욕망 개념의 추상적 이미지와 현실이 동일한 언어적 의미에서의 해석은 욕망의 구조를 나타내는 것으로, 추상적인 욕망 개념의 현실이 욕망의 인과 구조인 현실 이미지로서 모순적 욕망과 의미적 관계를 형성함으로써 욕망의 구조를 연출한다.
칸트처럼 근대 미술까지 이원적 구조로서 신화적 대상을 인간과 동일한 구조로 이율배반을 하나의 구조로 포괄한다.
따라서 이성적 주체의 시선을 통해 욕망 구조의 언어적 의미와 동일한 합리적 오브제인 사건 이미지로서의 오브제는 주체가 볼 수 없는 실제 이미지로 인식된다.
그리고 욕망의 결핍을 채우려는 실재 이미지는 계속적으로 다른 욕망의 오브제를 대리한다. 추상적 욕망에 오브제로서 현재의 욕망을 반영하는 연못은 실재로서 욕망 구조를 제시해서 추상적 욕망에 오브제지만 실재 이미지를 통해 결여에서 분리된 욕망 구조를 은폐되어서 어긋난 사회적 가시성에 욕망 구조가 예속된 욕망이 결핍된 불완전한 추상성에서 벗어나서 실재 이미지로서 욕망의 원인을 사건 이미지로서의 오브제로 귀환한다.
또한 다른 욕망의 오브제는 욕망의 결핍을 채우려는 실제 이미지로 지속적으로 표현된다. 추상적 욕망의 오브제로서 현재의 욕망을 반영하는 연못은 추상적 욕망의 오브제인 현실로서의 욕망 구조를 제시하지만, 욕망이 결여된 불완전한 추상에서 벗어나 실제 이미지로서의 욕망의 원인을 사건 이미지로서의 오브제로 되돌립니다. 즉, 결핍과 분열된 욕망의 구조는 추상적인 욕망의 실제 이미지를 통해 숨겨져 있으며, 일탈된 사회적 가시성에 종속된 모순된 욕망이 욕망의 원인이 되어 실제 이미지의 오브제가 된다.
욕망 개념의 객체 렌더링 프로세스
욕망 개념의 오브제 랜더링은 1. 오브제로서 사건 이미지와 동일한 욕망 개념을 무의식과 실재 이미지로 분열하여서 무의식적 욕망를 존재적 실재로서 랜더링한 팝아트적 이미지다.
따라서 언어적 의미를 말하는 욕망 구조의 오브제는 뉴스에서 방송한 사건과 이미지로 발화행위(enunciation)로서 구어체 언어와 사건 영상 방송의 시청 효과를 뉴스에 의존하는 요소들을 특정하는 하나의 발화(發話)행위의 언표적 미적 구조로서 욕망 개념의 오브제의 진릿값인 추상화를 실재로 표상한다. 2. 욕망 개념의 진릿값으로서 언어적 의미를 실재를 말하는 추상화, 즉 욕망 개념의 진릿값을 나타내며, 이는 구어체와 사건 비디오 방송의 시청 효과를 뉴스에 의존하는 발화 행위(enunciation)로 명시하는 표상적 미적 구조다. 이것은 시각적 이미지의 욕망 개념은 개방계로서 수많은 시각이미지를 다원적인 시각체계를 통해 타자들에게 전달되기 때문이다. 욕망 개념의 진릿값인 추상적 이미지는 타자의 욕망에서 표출된 실재 이미지로 보편성을 가지고 있기 때문에 주목을 받게 된다. 즉 타자의 추상적 욕망에서 드러난 욕망 개념의 진릿값인 오브제는 예술 작품으로 적용되는 팝아트의 통시적 기능을 통해서 타자의 욕망 개념과 동일한 미적 이미지를 교환하는 욕망 기능을 한다. 3. 욕망 개념의 추상적 이미지와 현실이 동일한 언어적 의미에서의 욕망 개념의 진릿값은 욕망의 구조를 나타내는 것으로, 추상적인 욕망 개념의 현실이 욕망의 인과 구조인 현실 이미지로서 모순적 욕망과 의미적 관계를 형성함으로써 욕망의 구조를 연출한다. 이것은 칸트처럼 근대 미술까지 이원적 구조로서 신화적 대상을 인간과 동일한 구조로 이율배반을 하나의 구조로 포괄한다. 4. 욕망 개념의 오브제 렌더링은 이성적 주체의 시선을 통해 욕망 구조의 언어적 의미와 동일한 합리적 오브제인 사건 이미지로서의 오브제는 주체가 볼 수 없는 실제 이미지로 렌더링한다. 그리고 욕망의 결핍을 채우려는 실재 이미지는 계속적으로 다른 욕망의 오브제를 대리하는 추상적 욕망에 오브제로서 현재의 욕망을 반영하는 거울 구조의 연못에서 가역적 빛의 음영으로 욕망 구조를 반복해서 렌더링한다. 그 렌더링은 이미지의 실재로서 욕망 구조를 제시해서 추상적 욕망에 오브제지만 실재 이미지를 통해 결여에서 분리된 욕망 구조를 은폐되어서 어긋난 사회적 가시성에 욕망 구조가 예속된 욕망이 결핍된 불완전한 추상성에서 벗어나서 실재 이미지로서 욕망의 원인을 사건 이미지로서의 오브제로 귀환한다. 또한 다른 욕망의 오브제 렌더링은 욕망의 결핍을 채우려는 실제 이미지로 지속적으로 표현된다. 추상적 욕망의 오브제로서 현재의 욕망을 반영하는 오브제의 렌더링은 추상적 욕망의 오브제인 현실로서의 욕망 구조를 제시하지만, 욕망이 결여된 불완전한 추상에서 벗어나 실제 이미지로서의 욕망의 원인을 사건 이미지로서의 오브제로 되돌립니다. 즉, 결핍과 분열된 욕망의 구조는 추상적인 욕망의 실제 이미지를 통해 숨겨져 있으며, 일탈된 사회적 가시성에 종속된 모순된 욕망이 욕망의 원인이 되어 실제 이미지로서 추상화로 귀착된다.
현재의 욕망을 반영한 연못 렌더링
새로운 수학적 구조는 욕망 개념의 결과로 미적 구조를 설계하려는 최철주의 욕망 공식입니다
현재의 욕망을 반영한 연못의 오브제로서 사건 이미지에서 타자와의 욕망을 직시해서 미적 의미를 가질때에 추상적 욕망 개념을 실재화한 추상화로 차자의 욕망 구조로 대리한다.
욕망의 연못에서 미적 구조로서 주체는 오브제로서 사건 이미지와 동일한 욕망 개념을 무의식과 실재 이미지로 분열하여서 무의식적 욕망를 존재적 실재로서 모델링한 팝아트적 이미지다.
현재의 욕망에서 연못의 형태가 갖는 절대적인 욕망 개념은 추상화에서 보이는 기호적 은유로써 그 욕망 개념은 타자의 욕망을 추상하지만 모방적 그림의 범주를 넘지 못한다. .
추상적 욕망에서 실재 이미지와의 차이를 언어적 개념의 의미로 받아들이면서 욕망과 관계 구조를 이루는 추상과 마주하는 욕망의 언어적 의미가 만드는 실재 구조를 추상화한다. 이것은 종교적 관습에서 수용할 수 있는 사회적 제약(制約)에서 벗어나 그림 속 욕망의 조형적 현실을 숨기고 실재의 뉴스에 근거로한 사건 이미지를 추상하는 최철주의 욕망 개념 추상화다.
따라서 언어적 의미를 말하는 주체는 뉴스에서 방송한 사건과 이미지로 발화행위(enunciation)로서 구어체 언어와 사건 영상 방송의 시청 효과를 뉴스에 의존하는 요소들을 특정하는 하나의 발화(發話)행위의 언표적 미적 구조로서 욕망 개념의 진릿값인 추상화를 실재로 표상한다.
욕망 개념의 추상적 실체와 현실이 동일한 언어적 의미에서의 욕망 개념 해석은 욕망과 의미적 관계를 형성함으로써 욕망의 구조를 나타냅니다. 이 이미지에서 욕망의 추상적 실체는 욕망의 인과 구조입니다. 즉 이율배반적 동등성이 추상적 욕망 개념의 실재성을 아포리아 이미지에서 욕망의 원인적 구조로 한 실재 이미지로 욕망과의 의미 관계를 맺어서 욕망의 구조를 대리한다.
욕망 구조로서의 실재 이미지의 추상화는 보이는 은유의 형태적 이미지가 추상적 언어 의미가 실재로 전이된다. 그 추상화는 실재적 형상인 이미지로서 형상의 욕망 구조가 음폐된 추상적 기의로서의 환유적 고착이다. 즉 추상화에서 사회적 사건 이미지로서의 타자의 욕망으로 실체화된 형상적 의미를 추가적인 형태로 자리바꿈을 한다.
이것은 칸트처럼 근대 미술까지 이원적 구조로서 신화적 대상을 인간과 동일한 구조로 이율배반을 하나의 구조로 포괄한다.
따라서 욕망 구조를 이성적 주체의 시선으로 통찰한 언어적 의미와 동일한 이성적인 대상인 사건 이미지로서의 오브제는 주체가 볼 수 없는 이율배반적 자리에서 응시한 실재 이미지로 인식한다.
최철주의 욕망 개념으로 본 마네의 <풀밭위의 점심식사>에서 정장한 남자는 유아로서 주체성을 인식하면서 자신의 이미지와 동일시하는 상징계이다. 정장한 남자는 복장을 갖추고 이성적 도덕관을 표명한 시대에서부터 19세기까지 계속적인 사회적 규정에 의해 유아가 갖는 인식의 구조이다. 연못과 동일한 거울 구조에 비친 외부에 노출된 개방된 공간에서 여자와 남자가 옷을 벗고 있는 것은 잘못된 것임을 인식하고 정장을 하고 있으며, 누드의 여인과는 다르게 정장을 한 남자가 이미지의 주체임을 인식한다.
이것은 욕망 구조가 시대착오적인 사회성에 종속되어 욕망이 결여된 불완전한 추상화에서 벗어나 욕망 구조를 렌더링함으로써 욕망 개념의 원인을 오브제로 되돌리는 거울 구조의 실제 이미지다.
이와 같이 연못 이미지를 거울 구조로 렌더링하는 것은 추상적인 욕망의 개념에서 현실이 될 평평한 기호이며, 사건 이미지는 타인의 욕망 개념을 표현하는 추상적인 욕망을 가역적인 빛의 음영으로 조각하여 시각적 범위에 투영된 이미지의 차원으로 가린다.
연못 이미지에서 욕망의 주체는 추상의 회화적 의미를 거부하고 유체 고정에 의한 추상적 구조가 아닌 현실의 이미지로 드러내어 기존 이성에 숨겨진 환상의 실체를 드러냅니다. 이는 보이지 않는 욕망의 실체로서의 실제 이미지를 드러내며 '현재의 욕망을 반영한 연못 렌더링'에서 현대의 절대적 환상의 고착을 파괴합니다.
욕망 구조가 거울을 대리하는 추상적 욕망 개념을 실재의 공간의 자리를 나타내는 욕망의 불안정한 자아를 실재로 확정하여서 연못에 비친 욕망 이미지를 구성한다.
이것은 욕망의 개념의 상징적 의미를 표면에 반영하는 무의식적인 욕망을 실제 이미지와 대조하여 욕망 이미지를 가역적인 빛의 음영 대비 구조로 실현한 것입니다.
여기서 연못은 욕망의 구조를 거울 구조로 나누고, 욕망의 개념을 실제 이미지로 표면에 반영하여 타인의 욕망을 자아와 동일시합니다.
욕망은 하나의 오브제이며, 사건 이미지와 언어적 의미는 연결된 구조입니다. 디자인을 나열한 후 욕망을 추상화하는 대신, 욕망 개념의 주체로서의 언어적 의미는 실제 이미지로 향합니다.
이렇게 연못에 비친 타인의 욕망 이미지를 식별하는 주체는 현실에서 자아의 무의식적 욕망 개념을 상징하는 구조의 언어적 의미를 드러내고, 욕망과 시선의 이미지를 그림자 속에 남겨둡니다.
따라서 연못에 비친 실제 이미지가 그림자 구조 속에 욕망이 숨겨져 있는 현실의 실제 규칙에 가깝기 위해서는 최철주의 추상적인 디자인 프로세스를 통해 욕망의 개념을 연결하고 수면 위 빛의 다중 반사에 따라 물체의 질감 높이를 스케치합니다.
욕망의 배경과 객체 스펙트럼 렌더링은 현재의 욕망을 반영하는 연못 스케치에 비추었을 때 여러 개의 빛을 같은 장소에 중첩하여 수행됩니다.
이는 물체의 질감 색상이 조명 색상에 따라 변성이 되거나 다른 색상이 가역적인 빛에 반사되어 인식될 때 응시할 수 있는 예측 값으로서 실제 욕망 이미지로서의 욕망 개념을 고정시킵니다.
욕망 개념의 고정한 스케치 이미지는 언어적 의미가 소급적 효과에 의해 욕망 구조가 연못 수면에 완성된다.
연못 수면에 다반사하는 가역적 빛으로 스테치한 욕망의 오브제를 실재의 고유색으로 구성한다. 그리고 가역적 빛이 욕망의 오브제에 투사되어서 실재의 음영에 조각되고 반사되어 응시되는 실재 이미지로 귀결한다.
따라서 원근감 시각 시스템과 달리 현재의 욕망을 반영하는 폰드 렌더링은 욕망 구조의 시간성에 따라 표면과 뒷면이 겹치는 상징적 현실 이미지를 반복적으로 디자인하고, 동일한 표면에 여러 개의 가역적인 빛으로 욕망의 질감을 만들어 단일 이미지와 동일한 구조를 구현한다./글. 개념추상실재학 미술학자 최철주 (문화디자인박사)
Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025
La formule Désir de Choi Chul-joo est une formule de multiplication qui utilise I/I (image) et D/D (design) comme symboles pour générer une image de désir polynôme en reliant le nombre d'images de design à des images d'événements et de performances. Le sens linguistique d'une image en tant que symbole est une image (I/I) du concept de désir d'identifier le concept abstrait du désir.
En tant qu'artiste abstrait, l'art conceptuel contemporain de Choi Chul-joo est un art abstrait qui résume le concept de formabilité réelle et d'ombre réversible de la lumière en tant qu'êtres irréalistes selon les désirs des autres. Il s'agit d'une abstraction du désir de l'autre de remplacer le lieu réel, c'est-à-dire le désir de l'autre de représenter le lieu réel.
Le concept de désir de Choi Chul-joo Concept de design abstrait est une nouvelle méthodologie artistique abstraite qui incarne des concepts abstraits modernes transformés du romantisme en Abstract en images réelles, à partir du mouvement artistique moderne.
Louis Chul-joo Choi, morning glory p132-3-Chungha, shows outstanding performance, a hand-painted picture on a computer
L'art conceptuel crée une double place avec le concept du désir du sélectionneur plutôt qu'abstrait, l'emporte sur l'art conceptuel abstrait à la double place et conçoit à plusieurs reprises une image de réalité comme une entité sémantique avec la structure abstraite souhaitée par le sélectionneur comme sujet.
L'esthétique conceptuelle de l'objet de désir qui conçoit la réalité du désir résulte d'un manque de désir empirique d'abstraire l'expérience esthétique de la réalité objective comme valeur de vie, et la valeur formative est obtenue à partir d'images réelles en satisfaisant le manque d'objets nécessaires.
Ici, l'objet du désir est insuffisant et suit le concept de désir de l'autre d'obtenir une corrélation sémantique par des mouvements empiriques de conscience.
Par conséquent, l'image réelle en tant que structure du désir a une valeur esthétique conforme à la pratique conventionnelle en omettant les images d'ombre du monde réel et en les plaçant dans la gamme de lumière due au concept du désir, et en s'installant dans la structure du vrai sujet et de l'essence de la réalité. En éclairant inductivement le concept dans l'ombre réversible de la lumière, il incarne clairement le sens linguistique de l'image et du phénomène réel.
Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 2, 113X164cm, acrylic and composite materials on cloth, 2024
Esquisse de l'étang reflétant le désir actuel
L'image du désir de Choi Chul-joo est un objet, et elle se reflète dans l'étang comme une image représentant le sens linguistique du concept de désir abstrait comme un désir diachronique d'actualité qui spécifie le désir.
La structure physique spécifiée comme une réalité dans laquelle l'objet reflété dans l'étang est dominé par son propre désir et le sujet de ce désir a été perdu représente le désir diachronique comme une image phénoménale du désir continu.
Il montre le processus de formation comme un sujet phénoménal, c'est-à-dire un objet réel comme un être, comme une image significative en concevant et en appliquant une structure esthétique à partir du désir diachronique à travers la formule Désir de Choi Chul-joo. Le chemin du désir diachronique va de l'application de la formule du désir à la conception abstraite de la structure du désir à l'installation d'une image réelle.
Cela reconnaît l'image du désir en tant qu'être dans le domaine visuel en tant qu'image réelle, livre l'image de l'événement en tant qu'objet aux nouvelles du point de vue du désir inconscient, et reconnaît l'objet en tant qu'image phénoménale en tant que présence.
Ici, l'existence de l'abstraction du sujet d'une image phénoménale dans un étang à structure miroir se divise en images significatives au sens linguistique, créant une image de désir qui manque de visibilité sociale. L'image se forme dans un étang où une sculpture continue du désir se reflète dans la structure sociale.
La surface de l'étang reflète l'image de la réalité comme un miroir. Il s'agit d'une structure esthétique idéale, et le désir des autres est abstrait et reconnu comme une image de la peinture moderne réaliste à reproduire. Il s'agit d'une image créée par l'interaction désirée du moi en tant que sujet qui reflète la scène des événements et des spectacles sur l'étang et qui voit le désir des autres avec la réalité.
Par conséquent, à travers le processus abstrait du désir qui lie le désir au désir et le design de l'image phénoménale comme structure esthétique, le processus de conception abstraite de Choi Chul-joo est le même concept du désir et apparaît comme une image réelle et déformée dans le désir des autres.
La formule du désir de Choi Chul-joo est une vision multilatérale du concept de désir abstrait contemporain de Léon Battista Alberti, à partir de la proportion et du concept d'un sujet en perspective dans la pensée scientifique de la Renaissance chevauchant les contraintes religieuses jusqu'à l'époque moderne. Contrairement à l'abstraction idéale moderne, cela incarne la structure du désir comme une image réelle en régressant la perspective d'Alberti avec une nuance de lumière réversible grâce à son processus de conception abstraite.
L'image réelle de la structure du désir est reconnue en identifiant instantanément l'image de l'événement avec la structure du désir dans la zone du regard comme un objet dans l'espace abstrait fixant le désir de l'autre. Ceci est exprimé par le désir réprimé par l'inconscience de l'autre personne. Les caractéristiques visuelles de l'objet ainsi perçu sont l'existence et l'abstraction.
Comme image de regard, la forme continue d'un objet et l'immuabilité de la structure du désir sont regardées comme une image momentanée lorsqu'il est perçu comme le même concept de désir au fil du temps. L'objet du désir apparaît dans un fond différent avec le temps, mais sa réalité ne change pas, mais le moment où il le regarde est transféré pour le faire apparaître comme une image déformée. Le processus de design abstrait de Choi Chul-joo le réalise comme une image déformée vue comme un regard du concept du désir de regarder l'objet du désir créé dans une ombre réversible de lumière comme le désir des autres.
Ici, en tant qu'image déformée, "morning glory" signifie la structure du désir en arrière-plan. Ainsi, à l'instar du paysage de Saint-Arnaud de Léonard de Vinci, "morning glory", qui met en scène le paysage, n'est pas un fond d'image, mais un fond qui exprime le désir réel comme un morceau de désir. Cette abstraction conceptuelle déforme les choses en les alignant dans l'espace réel dans une structure plate pour se concentrer sur le regard du désir. Au sens linguistique du désir, les images des événements et des spectacles sont représentées dans la même structure plate que les images de bandes dessinées dans l'ombre réversible de la lumière, c'est-à-dire "morning glory", qui se superpose à l'image des événements. De plus, l'étang qui se reflète dans l'image actuelle du désir est décoré d'ombres réversibles de la lumière, créant ainsi une scène du désir en tant que sujet.
Le concept de désir en présence, qui forme l'image reflétée dans l'étang comme sujet, est l'image d'une structure de désir involontaire comme objet qui réalise l'inexistence abstraite comme Existenz de Hegel, qui se rapporte directement au concept de désir comme objet dans la structure spatiale existante.
Par le biais de la perception du regard cognitif d'une absence abstraite, le concept de désir est reconnu comme un objet qui a conçu l'image d'un événement comme un dessin visuel et forme la valeur esthétique formatrice de l'objet qui existe par la perception du regard. L'image ainsi formée révèle la valeur esthétique du temps contemporain et comprend la réalité de l'image par le concept du désir des autres.
Il s'agit d'appliquer le processus de création d'un objet par le regard de l'autre dans le domaine de la structure du désir à abstraire le design dans le processus de formation du désir de l'autre comme objet, et donc, comme objet déformé l'image du désir comme un autre étant séparé de la réalité de l'objet et de l'objet désir. C'est pourquoi il forme un objet qui révèle la structure du désir de l'autre et transition vers une autre image existante reconnaissable.
Ici, la temporalité garantit une structure spatiale réversible en dirigeant des images réelles qui forment la structure visuelle de l'existence vers des ombres réversibles de la lumière.
La nouvelle structure mathématique est la formule abstraite du désir de Choi Chul-joo, une formulation abstraite pour concevoir des structures esthétiques à la suite du concept du désir.
Le concept de désir abstrait représente la structure du désir d'autrui comme une abstraction qui réalise le désir lorsqu'il a un sens esthétique pour le désir d'autrui à l'image d'un événement.
Le rendu de l'étang reflète le désir actuel
En tant que structure esthétique du désir, le sujet est une image pop art qui modélise le désir inconscient comme une réalité existentielle en divisant le concept de désir, qui est le même que l'image de l'événement, en images inconscientes et réelles.
Par conséquent, le sujet qui parle le sens linguistique représente en fait l'abstraction, la valeur de vérité du concept de désir, qui est une structure esthétique expressive qui spécifie l'effet de visionnement du langage familier et de la diffusion vidéo d'événements comme un acte d'énonciation de la parole qui dépend des nouvelles.
Cela est dû au fait que le concept de désir dans les images visuelles est un système ouvert et que de nombreuses images visuelles sont transmises à d'autres par un système visuel pluraliste. Les images abstraites, qui sont les vraies valeurs du concept de désir, attirent l'attention parce qu'elles ont l'universalité comme images réelles exprimées par les désirs des autres. En d'autres termes, l'objet exposé aux désirs abstraits d'autrui fonctionne comme un désir d'échanger la même image esthétique que le concept de désir d'autrui par la fonction diachronique du pop art appliquée comme œuvre d'art.
Comme Kant, l'objet mythique de la même structure que les humains et les faits logiques à l'intérieur d'une structure sont inclus dans une structure comme des relations antinomiques contradictoires qui sont compatibles sur un pied d'égalité.
L'interprétation du concept de désir dans un sens linguistique où l'image abstraite et la réalité du concept de désir sont les mêmes représente la structure du désir en formant une relation sémantique avec le désir antinomique comme image réelle où la réalité du concept abstrait du désir est la structure causale du désir.
Par conséquent, l'objet en tant qu'image d'événement, qui est le même objet rationnel que le sens linguistique de la structure du désir à travers le regard du sujet rationnel, est reconnu comme une image réelle que le sujet ne peut voir.
De plus, d'autres objets de désir sont continuellement représentés par des images réelles qui tentent de combler le manque de désir. L'étang, qui reflète le désir actuel comme un objet au désir abstrait, présente une structure du désir comme une réalité, qui est un objet au désir abstrait, mais il renvoie la cause du désir comme une image réelle à un objet comme une image d'événement, à l'abri de l'abstraction imparfaite qui manque de désir subjuguée à une visibilité sociale dissimulée et déviée du manque à travers des images réelles. En d'autres termes, la structure de la déficience et du désir divisé est cachée par des images réelles de désirs abstraits, et des désirs contradictoires subordonnés à une visibilité sociale déviée deviennent la cause du désir et l'objet d'images réelles.
Processus de production d'objets de la notion de désir
Le rendu d'objet du concept de désir est 1. une image pop art qui rend inconsciente le désir comme réalité existentielle en divisant le même concept de désir que l'image de l'événement en images inconscientes et réelles comme objet. Par conséquent, le sujet qui parle le sens linguistique représente en fait l'abstraction, la valeur de vérité du concept de désir, qui est une structure esthétique expressive qui spécifie l'effet de visionnement du langage familier et de la diffusion vidéo d'événements comme un acte d'énonciation de la parole qui dépend des nouvelles. 2. Comme la valeur de vérité du concept de désir dans les images visuelles est un système ouvert, et de nombreuses images visuelles sont transmises à d'autres par un système visuel pluraliste. Les images abstraites, qui sont les vraies valeurs du concept de désir, attirent l'attention parce qu'elles ont l'universalité comme images réelles exprimées par les désirs des autrs. En d'autres termes, l'objet exposé aux désirs abstraits d'autrui fonctionne comme un désir d'échanger la même image esthétique que le concept de désir d'autrui par la fonction diachronique du pop art appliquée comme œuvre d'art. 3. La valeur de vérité du concept de désir dans un sens linguistique où l'image abstraite du concept de désir et de réalité est la même, représente la structure du désir, et la réalité du concept abstrait du désir est une image réelle, qui est la structure causale du désir, et crée une structure de désir en formant une relation sémantique avec un désir contradictoire. Comme Kant, il s'agit d'une double structure jusqu'à l'art moderne, qui englobe des objets mythiques dans la même structure que les humains, et la structure de désir antinomique comme une seule structure. 4. objet de la notion de désir rendue dans l'abstraction: Le rendu de l'objet du concept de désir rend l'objet comme une image d'événement, qui est le même objet rationnel que le sens linguistique de la structure du désir à travers le regard du sujet rationnel, est reconnu comme une image réelle que le sujet ne peut voir.
D'autres objets de désir sont également constamment représentés par des images réelles pour combler le manque de désir. L'étang, qui reflète le désir actuel comme l'objet du désir abstrait, montre la même structure du désir que la réalité, objet du désir abstrait, mais renvoie l'origine du désir à l'image réelle, l'image de l'événement. S'affranchir de l'abstraction imparfaite qui manque de désir, il est subordonné à une visibilité sociale dissimulée qui sort de la précarité à travers des images réelles. En d'autres termes, la structure du désir divisé et du désir est cachée par l'image réelle du désir abstrait. Le désir contradictoire dépendant d'une visibilité sociale biaisée est la cause du désir et l'image réelle est l'image réelle du sens linguistique du désir abstrait.
De plus, le rendu d'objets d'autres désirs est continuellement exprimé comme une image réelle qui cherche à combler la déficience du désir. Le rendu d'un objet qui reflète le désir actuel comme un objet de désir abstrait présente la structure du désir comme la réalité, l'objet du désir abstrait, mais il renvoie la cause du désir comme une image réelle à un objet comme une image d'événement, loin d'un désir abstrait imparfait dépourvu de désir. En d'autres termes, la structure du désir et du désir divisé est obscurcie par l'image réelle du désir abstrait, et la réalité exprimée dans la cause du désir est abstraite comme une image par un désir contradictoire dépendant d'une visibilité sociale déviée.
Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025
Le rendu de l'étang reflète le désir actuel
Une nouvelle structure mathématique est la formule Désir de Choi Chul-Joo pour concevoir une structure esthétique à la suite du concept de désir.
Objet d'un étang reflétant le désir actuel, lorsqu'il a un sens esthétique en affrontant le désir de l'autre à l'image de l'événement, il représente le concept de désir abstrait comme une abstraction réelle et la structure du désir de l'autre.
Structure esthétique dans l'étang du désir, le sujet est une image pop art qui modélise le désir inconscient comme une réalité existentielle en divisant le concept de désir, qui est le même que l'image de l'événement, en images inconscientes et réelles.
Le concept de désir absolu sous la forme d'un étang dans le désir actuel est une métaphore symbolique vue dans l'abstraction, et le concept de désir abstrait le désir des autres, mais n'excède pas la catégorie de la peinture imitative.
Tout en acceptant la différence de l'image réelle dans le désir abstrait comme le sens du concept linguistique, elle résume la structure réelle créée par le sens linguistique du désir face à l'abstraction qui constitue la structure du désir et de la relation avec le désir. C'est l'abstraction conceptuelle du désir, libre des contraintes sociales (制約) qui peuvent être acceptées dans les coutumes religieuses et cache la réalité formatrice du désir dans la peinture et résume l'image de l'événement basée sur l'actualité de la réalité.
Ainsi, le sujet du désir de parler de sens linguistique est une structure esthétique qui exprime le sens de la prononciation linguistique, et le comportement linguistique et esthétique qui exprime l'image de la réalité abstraite, véritable valeur linguistique du concept du désir, est abstrait.
En créant une relation sémantique avec le désir en tant qu'image réelle, la structure de cause du désir, le concept du désir est interprété comme un sens linguistique avec la même notion de réalité abstraite et de désir. En d'autres termes, la structure du désir exprime le désir en créant une relation sémantique entre le désir et l'image réelle, abstraction contradictoire théorique correspondant à la notion de désir.
Dans l'abstraction de l'image réelle comme structure de désir, l'image morphologique de la métaphore visible est transférée au sens abstrait du langage. L'abstraction est une fixation transitoire en tant que signification abstraite dans laquelle la structure désirée de la forme est obscurcie en tant qu'image réelle. En d'autres termes, dans l'abstraction, le sens réel de la forme se transforme en une forme supplémentaire par le désir d'autrui comme image d'événements sociaux.
Comme Kant, il s'agit d'une double structure jusqu'à l'art moderne, qui englobe des objets mythiques dans la même structure que les humains et inclut la distribution antinomique comme une seule structure.
Par conséquent, à travers le regard du sujet rationnel, l'objet en tant qu'image d'événement, qui est le même objet rationnel que le sens linguistique de la structure du désir, est reconnu comme une image réelle que le sujet ne peut voir d'une position antinomique.
Dans "Le Déjeuner sur l'herbe" de Manet, vu comme le concept du désir de Choi Chul-joo, l'homme en costume est un monde symbolique qui identifie son image tout en reconnaissant la subjectivité comme un enfant. L'homme en costume est une structure de perception d'un enfant par des règlements sociaux continus depuis l'époque où il s'habillait et exprimait une vision rationnelle de la moralité jusqu'au XIXe siècle. Il reconnaît qu'il est mal pour les femmes et les hommes de se déshabiller dans un espace ouvert exposé à l'extérieur reflété dans la même structure miroir qu'un étang, et reconnaît qu'un homme en costume est le sujet de l'image, contrairement à une femme nue.
Il s'agit d'une image réelle d'une structure miroir qui s'écarte d'une abstraction incomplète qui manque de désir due à la subordination de la structure du désir à la sociabilité diachronique et renvoie la cause du concept du désir à l'objet en rendant la structure du désir.
Ainsi, le rendu de l'image de l'étang en tant que structure miroir est un signe plat qui sera réel dans le concept du désir abstrait, et l'image de l'événement transforme le désir abstrait en nuances réversibles et l'obscurcit dans la dimension de l'image projetée dans la gamme visuelle.
Dans l'image de l'étang, le sujet du désir rejette le sens pictural de l'abstraction et révèle la réalité de l'illusion cachée dans la raison conventionnelle en la révélant comme une image de la réalité plutôt qu'une structure abstraite par fixation fluide. Cela révèle l'image réelle comme une réalité du désir invisible, détruisant la fixation de l'illusion absolue contemporaine dans "Pond Rending Reflecting Current Desire".
Le concept abstrait du désir, dans lequel la structure du désir représente un miroir, est confirmé comme réalité le moi instable du désir, qui représente la place de l'espace réel, et l'image du désir reflétée dans l'étang est composée.
Il s'agit d'une réalisation de l'image du désir en tant que structure de contraste ombragée de la lumière réversible en comparant le désir involontaire qui reflète le sens symbolique du concept du désir à la surface avec l'image réelle.
Ici, l'étang divise la structure du désir comme une structure miroir et égalise le désir de l'autre avec le soi en reflétant le concept du désir à la surface comme une image réelle.
Le désir est un objet, et l'image de l'événement et le sens linguistique sont des structures liées, et au lieu d'abstraction du désir après sérialisation du design, le sens linguistique comme sujet du concept du désir est dirigé comme une image réelle.
Le sujet qui saisit ainsi l'image du désir d'autrui reflétée dans l'étang révèle dans la réalité le sens linguistique de la structure qui symbolise la notion du désir inconscient et laisse dans l'ombre l'image du désir et du regard.
Par conséquent, pour que l'apparence réelle de l'étang se rapproche de la loi de la réalité où le désir est caché dans la structure de l'ombre, le processus abstrait de Choi Chul-joo lie le concept du désir et dessine l'ombre de la texture de l'objet selon les multiples réflexions de la lumière sur la surface.
L'arrière-plan du désir et le rendu spectral de l'objet sont réalisés en superposant plusieurs lumières au même endroit lorsqu'elles sont éclairées sur un croquis d'étang reflétant le désir actuel.
Cela fixe le concept du désir comme image réelle du désir comme valeur prédictive que l'on peut regarder lorsque la couleur de texture d'un objet devient métamorphisme selon la couleur de l'illumination ou est perçue comme une couleur différente se reflète dans la lumière réversible.
Dans l'image de croquis fixe du concept du désir, le sens linguistique est rétroactif et la structure du désir est complétée à la surface de l'étang.
L'objet du désir, cousu par la lumière réversible qui illumine la surface de l'étang, est constitué d'une couleur unique de la réalité.
Et une lumière réversible est projetée sur l'objet du désir, sculptée et réfléchie à l'ombre de la réalité pour donner l'apparence réelle que nous regardons.
Par conséquent, contrairement à la perspective visuelle qui reflète les besoins actuels, le rendu du désir conçoit et exprime à plusieurs reprises des images de réalité symbolique superposées à la surface et à l'arrière selon les caractéristiques temporelles de la structure désirée. Créez la texture du désir avec plusieurs lumières réversibles sur la même surface pour créer la même structure qu'une image. / L'auteur. Choi Chul-joo, critique d'art contemporain (docteur en design culturel)
Background image of an artist's artwork: Louis Chul-joo Choi, Trump Sets Mission To America First As U.S. President 4, a hand-painted picture on a computer
The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.
"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.
The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
Louis Chul-joo Choi, morning glory p132-4-Trump Sets Mission To America First As U.S. President., a hand-painted picture on a computer
Choi Chul-joo, a contemporary art designer, designs contemporary art abstractions through his desire formula.
Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire.
As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.
Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News
Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design
Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.
The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
Contemporary Art Work: Review of Korean News Cartoon [202] Trump Sets Mission To America First As U.S. President. (2025.1.22) / Reporter Choi Chul-joo’s Cartoon Review
Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction.
- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.
- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.
■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.
Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.
In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 238-Trump Sets Mission To America First As U.S. President: 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 a238-Trump Sets Mission To America First As U.S. President: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest a238-Trump Sets Mission To America First As U.S. President-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest a238-Trump Sets Mission To America First As U.S. President-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light./ The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning.
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 p132-4> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Choi chuljoo, morning glory p132-4-Trump Sets Mission To America First As U.S. President> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi chuljoo, morning glory p132-4-Trump Sets Mission To America First As U.S. President> becomes a non-real abstraction of reality.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 261-Trump Sets Mission To America First As U.S. President: 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 i261-Trump Sets Mission To America First As U.S. President: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i261-Trump Sets Mission To America First As U.S. President-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence
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, In front of the bamboo forest Bamboo Forest Bamboo Forest i261-Trump Sets Mission To America First As U.S. President-pond-mirror
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 "In front of the bamboo forest Bamboo Forest Bamboo Forest i261-Trump Sets Mission To America First As U.S. President-pond" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection
Therefore, conceptual abstract painter Louis Choi Chul-joo's "In front of the bamboo forest Bamboo Forest Bamboo Forest i261-Trump Sets Mission To America First As U.S. President-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.
Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.
As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.
In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.
■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire,
mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition./ The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i).
■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality. ■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire. ■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.
Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 261, a hand-painted picture on a computer
Louis Chul-joo Choi, morning glory p131-1, a hand-painted picture on a computer
La formule Désir de Choi Chul-joo est une formule de multiplication qui utilise I/I (image) et D/D (design) comme symboles pour générer une image de désir polynôme en reliant le nombre d'images de design à des images d'événements et de performances. Le sens linguistique d'une image en tant que symbole est une image (I/I) du concept de désir d'identifier le concept abstrait du désir.
En tant qu'artiste abstrait, l'art conceptuel contemporain de Choi Chul-joo est un art abstrait qui résume le concept de formabilité réelle et d'ombre réversible de la lumière en tant qu'êtres irréalistes selon les désirs des autres. Il s'agit d'une abstraction du désir de l'autre de remplacer le lieu réel, c'est-à-dire le désir de l'autre de représenter le lieu réel.
Le concept de désir de Choi Chul-joo Concept de design abstrait est une nouvelle méthodologie artistique abstraite qui incarne des concepts abstraits modernes transformés du romantisme en Abstract en images réelles, à partir du mouvement artistique moderne.
Un art conceptuel crée une double place avec le concept du désir du sélectionneur plutôt qu'abstrait, l'emporte sur l'art conceptuel abstrait à la double place et conçoit à plusieurs reprises une image de réalité comme une entité sémantique avec la structure abstraite désirée par le sélectionneur comme sujet.
The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.
"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.
And by expressing the absence of the concept of desire in reversible temporality as a phenomenal image, "morning glory" expresses the mirror image reflected in the "pond" to abstract the structure of reality from the desire hidden in the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract color and planar structure.
■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.
Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.
In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.
Louis Chul-joo Choi, Release Lovelyz's mini album 'Lovelyz 8, a hand-painted picture on a computer, 2019/ News Cartoon: Cartoonist & freelance reporter Choi Chul-joo's current affairs cartoon review one sentence - Cartoon review: cartoon designer Choi Chul-joo's review news
Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction.
- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.
- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 234-Release Lovelyz's mini album 'Lovely: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest i234-Release Lovelyz's mini album 'Lovely: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest i234-Release Lovelyz's mini album 'Lovely-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i234-Release Lovelyz's mini album 'Lovely-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.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i234-Release Lovelyz's mini album 'Lovely-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, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence
Louis Chul-joo Choi, morning glory p131-1-Release Lovelyz's mini album, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p131-1-Release Lovelyz's mini album: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
The visualization of the concept of desire: Visualizing the concept of desire is a cartoon depicting events and performances manually, expressing the background of the cartoon as a landscape of desire with "morning glory" and "Bamboo Forest," and the cartoon image reconstructs desire into an abstract and realistic picture.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory p131-1-Release Lovelyz's mini album> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Chul-joo Choi, a pond reflecting the image of one's present desires-sketch 3, 113X165cm, acrylic and composite materials on cloth, 2024> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory p131-1-Release Lovelyz's mini album> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, morning glory p131-1-Release Lovelyz's mini album" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection
Therefore, conceptual abstract painter Louis Choi Chul-joo's "the bamboo forest i234-Release Lovelyz's mini album 'Lovely-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.
Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.
Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 234, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Choi Chul-joo, morning glory p131, a hand-painted picture on a computer
Choi Chul-joo's concept of desire Abstract design concept is a new abstract art methodology that embodies modern abstract concepts transformed from Romanticism to Abstract as real images, starting from the modern art movement.
One conceptual art creates a dual place with the concept of the selector's desire rather than abstract, overtakes abstract conceptual art in the dual place, and repeatedly designs a reality image as a semantic entity with the abstractly deficient desire structure desired by the selector as the subject.
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
By inductively illuminating the concept in the reversible shadow of light as a real image of desire, the linguistic meaning and real phenomena of the image are clearly embodied like mathematics.
As a specific object and subject composed of the psychological vector of the concept of unconscious desire in the real image, the instruction vector in which desire is opposed to each other's gaze creates a lack of desire.
In this way, mathematics is an abstract science based on the concept of desire, which goes through abstract design as an axiom and results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning.
Final image superimposed on the artist's work:: Louis Chul-joo Choi, the Missing pond, 112X249cm, acrylic and composite materials on cloth, 2024: The actual image has a perspective tone of the symbolism of the reality of the desire structure deposited in the pond. At the same time, as a figurative image that characterizes contemporary linguistic meaning, it creates a frame on the boundary of the pond for the desire of the other, creates an abstraction of the abstract desire structure as an image of an actual object, destroying the phenomenal symbolic system of conceptual abstraction with lines and colors, and forming an image suitable for the purpose desired by the subject as a reality.
In this way, the desire image constitutes a desire position as an inevitable object that the subject desires, acquires pictorial value as a real image of a linguistic concept, and uses linguistic abstract meaning to mark the inner concept of desire as an external image.
Linguistic abstraction is the structure of desire, and the background of desire, which establishes Lacan's imagination and reality reflected in the mirror as a visual structure, is Choi Chul-joo's "morning glory". In the design process of his concept of desire, the shadow that hides the reality in the shadow of reversible light is "Bamboo Forest". And the abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure is "The Missing Pond".
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.
In addition, as a design process of the concept of desire, the object of desire is symbolized as a conceptual subject, forming the reality expressed through desire revealed in the suppressed unconscious through design and revealing abstraction as being
The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.
"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.
And by expressing the absence of the concept of desire in reversible temporality as a phenomenal image, "morning glory" expresses the mirror image reflected in the "pond" to abstract the structure of reality from the desire hidden in the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract color and planar structure.
■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.
Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.
In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.
Choi Chul-joo, MONSTA X's "Let me be your fantasy" 5, Conceptual Artwork Criticism: Louis Chul-joo Choi, newsmanwha K-Pop Song illustratoin [7] MONSTA X <Let me be your fantasy> Online Live. (2020-5-27) / Reporter Choi Chul-joo’s Cartoon Review
■ Art Critic Choi Chul-joo's Visual Culture Column: To weave pink cloth in waves in a dark place as if it were your last life. = The temporality of light brightened by overlapping light is real in a realistic structure that removes real images and expresses them as shadows.
In addition, Choi Chul-joo's theory of desire art, which interprets reality as a realistic abstract, is embodied in a shade covered with a bamboo forest depicting the subject of "morning glory" the background of desire.
Famous contemporary artist, modern painter, abstract painter & contemporary abstract artist Louis Choi Chul-joo's treacherous conceptual art abstraction 'Morning Glory' & 'Bamboo Forest' pop art abstraction design / Webtoon News Cartoonist & Contemporary Artist Choi Chul-joo Cartoon Design News
Webtoon News Cartoonist Choi Chuljoo's One-Sentence Cartoon Review & Abstract Artist Louis Choi Chul-joo Pop Art Abstract Painting design
Cartoon designer Choi Chul-joo, contemporary conceptual art pop art work & Webtoon design historical painter
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meaning that exists in the place of the realistic shape can be divided into cartoon review images, abstract painting is drawn through the shadow of reversible light that interprets others abstract desires into images. In other words, the emergence of the concept of desire is a momentary encounter with the concept of desire in a straight form of non-realistic image generated by reversible light.
The image of non-realism, which emerged as the concept of desire, is a distorted form of similar factual structure. This is because the place and shape of the real form are not the same.
Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.
(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)
Louis Choi Chul-joo, morning glory p132-Let me be your fantasy,
Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction.
- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.
- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, bamboo forest 236-Let me be your fantasy, a hand-painted picture on a computer/ Reinterpreting cartoon news review, which uses modern art abstract painting as treacherous conceptual art, as a conceptual artist's work
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest i236-Let me be your fantasy: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest i236-Let me be your fantasy-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest i236-Let me be your fantasy-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence
Louis Chul-joo Choi, morning glory p132-2=Pond Rendering Reflects Current Desire, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p132-2=Pond Rendering Reflects Current Desire: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
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 p132-2=Pond Rendering Reflects Current Desire> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Choi Chul-joo, morning glory p132, a hand-painted picture on a computer> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <Louis Choi Chul-joo, morning glory p132-2=Pond Rendering Reflects Current Desire, a hand-painted picture on a computer> becomes a non-real abstraction of reality.
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 Chul-joo Choi, morning glory p133-1-21=Pond Rendering Reflects Current Desire, a hand-painted picture on a computer
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi Chul-joo, morning glory p133-1-21-Pond Rendering Reflects Current Desire, a hand-painted picture on a computer" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory.a New Yorker's private collection
Therefore, conceptual abstract painter Louis Choi Chul-joo's "In front of the bamboo forest Bamboo Forest Bamboo Forest i236-Let me be your fantasy-pond-mirror" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.
Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 236, a hand-painted picture on a computer
Louis Choi Chul-joo, morning glory p132-2-1-Let me be your fantasy,
The figurative meaning of the conceptual abstract 'morning glory' is that the color of meaning decorates the reality of customary universality facing the object with the color of light. The dark blank space is a shadow created in the area of the subject, which contrasts with the light of a decorated shape. Here, as a real object, color is a single-phase image of the desire custom seen through the gaze. This is a symbolic linguistic image of the background of desire, which symbolizes the concept of desire with imitated flowers. Here, the morning glory image is a piece as a meaning of desire symbolized in real space as a result of the desire image.
"morning glory" expresses the lack of the concept of desire that exists in reversible temporality as a phenomenal image, and expresses the structure of desire obscured by the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract structure of color and plane.
And by expressing the absence of the concept of desire in reversible temporality as a phenomenal image, "morning glory" expresses the mirror image reflected in the "pond" to abstract the structure of reality from the desire hidden in the shade of reversible light in the intermediate stage, which represents the existence of various desires beyond the current abstract color and planar structure.
■ Choi Chul-joo's concept of desire design process "morning glory" by Choi Chul-joo is a reconstruction of the imagination of desire that is recognized as a structure of desire and the reality reflected in the mirror as a background of desire established as a visual structure. "Bamboo Forest" is the shadow that hides the reality in the shadow of reversible light in his desire concept design process. And "The Missing Pond" is an abstract language image that reflects the reality of the concept of unconscious desire as a linguistic structure.
Therefore, Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic representation of the "disappeared pond" structure of symbolic reality, reducing the concept of abstract desire to a real image in the category of modern art's ideal Logos expression.
The progress of this symbolizes the object of desire as a conceptual subject as a design process of the conceptual subject of desire.
Choi Chul-joo's concept of desire to design abstraction in contemporary art does not presuppose causality with the real image, but symbolizes the object of desire as a conceptual subject from an abstract concept in which desires alienated by the unconscious are divided, resulting in an abstract real image as a correlation between real images.
In linguistic abstraction, the meaning of abstraction as a real image is inductively inferred to take the meaning of symbolic existence.
And the view of the image of its existence abstracts the concept of desire to the outside of reality, and the real image becomes the object of abstraction as the correlation of reality with the concept of desire. This is Choi Chul-joo's concept of desire design process 1.
The actual image symbolized by the design using the object of abstract desire as the conceptual subject is omitted, and the image is flattened in the visible range of light. And the image is represented as a symbolic structure of the concept of desire, which is spoken in a linguistic sense.
Choi Chul-joo's concept of desire design process 2 is to decorate the object with a color of universal reality that matches customs so that the reality of the symbolic structure represented in this way has an aesthetic value corresponding to the place as a single image.
The aesthetic structure concealed by the image designed as the concept of desire is divided into clouds and obscured shades, and the concept of desire is visualized as an image in various directions in the opposite direction of the concept of desire and the image, and the subject of the structure of desire created in the social environment is represented as an object in the past to recognize the image as an abstraction. And the subject who drew the existence executes the reality that symbolizes the concept of desire as an agent, and turns abstract desire into an image's mental phenomenon.
And Choi Chul-joo's abstract concept of desire is created by the imagination desired by the subject of desire in selecting an image of an abstract desire object in the unconscious.
As an abstract image, the concept of desire design process 3 is to repeatedly design a desire that combines lines and colors as an unconscious act that is in thought but is not conscious.
The concept of unconsciously abstracting desire is a sculpture image of reality in which the object of reality is not seen as a reversible shadow of light, and shows another image of reality by concealing reality as a shadow.
The image is an unconscious mind maintained by the real image and the imagination desired by the subject of desire, and is an idea that cannot be recognized by that image.
Desire Concept Design Process 4. is designed by combining the spatial composition of desire, in which the image of desire is a sculpted planar monochromatic painting in reality, into a reversible structure of light through conscious movement.
In this way, Choi Cheol-joo's concept of desire design appears as an object of desire as another abstract reality in the perspective visual system through his concept of desire design process.
Louis Chul-joo Choi, Chungha, shows outstanding performance, a hand-painted picture on a computer,/ Cartoon, Korea News Cartoon Review with Contemporary Art Critic Choi Chul-joo's newsmanwha K-Pop Song illustratoin [18] Chungha, shows outstanding performance. ACN ・ 2020. 7. 13. 23:25/ Reporter Choi Chul-joo’s Cartoon Review
Conceptual semantic structure Abstraction of modern art converts images of the desires of others designed as pop art sketches into abstraction through cartoon criticism. This abstractly illuminates the desire to reconstruct the external phenomena of socio-cultural objects of contemporary art into photographs of events and to express the specific validity of others through the objective perspective of images, the subject of desire. This effect is an easy example of modern art abstraction by abstracting the desires of others into cartoons from the objects in which the event occurred, and interpreting cartoon analysis as a cultural form of modern art to evaluate the value of life. It's a treacherous conceptual art called realistic abstraction, the cartoon news of modern realistic abstraction.
- Conceptual artist, contemporary artist, abstract painter, media artist, pop artist, cartoonist & cartoon critic Choi Chul-joo cartoonist, pop artist, contemporary art work, pop artist who draws webtoon news, contemporary artist, concept artist, cartoon critic Choi Chul-joo.
- Choi Chul-joo, contemporary cartoon art historical painting & contemporary concept image installation artist's work
Abstract painting as a treacherous conceptual art refers to abstract painting as a realistic structure in art. Since the conceptual meanings present in the place of the realistic shape can be divided into cartoon review images, the abstraction is drawn through a reversible shade of light that interprets another person's abstract desire as a cartoon review image as an image.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest 237-Chungha, shows outstanding performance: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Chul-joo Choi, Bamboo Forest b237-Chungha, shows outstanding performance: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Contemporary Art Work: Abstract Painting with Treacherous Conceptual Art: Louis Choi Chul-joo, Bamboo Forest b237-Chungha, shows outstanding performance-pond: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, In front of the bamboo forest Bamboo Forest Bamboo Forest b237-Chungha, shows outstanding performance-pond-mirror: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, leads to verbal abstraction. In other words, the shape in which the other's desire is realistically revealed in a momentary event is a linguistic abstraction with the same meaning. Conceptual art with morning glory and bamboo as a cultural background is linguistic abstraction. Abstraction creates a conceptual structure reflected in a pond based on the shape of subsequent reality fostered by language and hides the desires of others in instantaneous events.And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence
Background image of an artist's artwork: Louis Choi Chul-joo, the bamboo forest 237, a hand-painted picture on a computer
Louis Chul-joo Choi, morning glory p132-3-Chungha, shows outstanding performance, a hand-painted picture on a computer
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p132-3-Chungha, shows outstanding performance: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
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 p132-3-Chungha, shows outstanding performance> As an Abstract Korean painting of Modern Art, Desire Formula <D(I...I')d=I(D...D'i)i> is applied to overlap the painting <Louis Chul-joo Choi, morning glory 2025-1-Pond Rendering Reflects Current Desire, 113X164cm, acrylic and composite materials on cloth, 2025> created by reversible light. In addition, by re-applying the desire formula by linking verbal metaphor images, a phenomenal conceptual place is set in another place in one space as a shade of reversible light and abstracted.
This translates to the first non-realistic abstraction poster at Louis Choi Chul-joo's 2022 New York Exhibition to actualize the Desire Object. The image <morning glory p132-3-Chungha, shows outstanding performance> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
By repeatedly sketching design and applying Choi Chuljoo's desire formula "D(I...I')d=I(D...D'i)i" to the conceptual image of desire, it instantly acquires aesthetic value and reveals the meaning of abstract desire by realizing realistic formability in the shadow of reversible light at that moment. / The abstract meaning of the shape in which the actual changed instantaneous desire shape is hidden by the reversible movement of light results in linguistic abstraction. In other words, it is verbal abstraction with the same meaning as a realistic form of the other person's desire in a momentary event or performance scene. Choi Chul-joo's conceptual art with morning glory and bamboo as the background of cultural abstraction is the linguistic abstraction of images. The abstraction creates a conceptual structure based on the shape of reality after the meaning fostered by language and hides the abstract desire of others in momentary events and performance scenes.
Louis Choi chuljoo, morning glory p141-7-Chungha, shows outstanding performance
Therefore, conceptual abstract painter Louis Choi Chul-joo's "Louis Choi chuljoo, 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 "Louis Choi chuljoo, morning glory p141-7-Chungha, shows outstanding performance" is a desire image of a real structure that is reconstructed into a reversible structure of light as an image of the concept of desire created from a transformed image meaning the reality of morning glory. And Choi Chul-joo's concept of desire visualizes the concept of desire as a linguistic expression for "morning glory" reflected in the "pond" structure of symbolic reality, reducing the abstract concept of desire to a real image in the category of ideal desire expression in contemporary art.
In addition, as a process of designing the concept of desire, the object of desire is symbolized as a conceptual subject, forming a reality expressed through desire revealed in the oppressed unconscious through design and revealing abstraction as existence.
Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.
Louis Choi chuljoo, morning glory p141-10-Chungha, shows outstanding performance
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, Like the movie Ophelia, false love and war between countries end their deaths, 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.
Louis Chul-joo Choi, Like the movie Ophelia, false love and war between countries end their deaths 5, a hand-painted picture on a computer
Choi Chul-joo's Desire Formula is a multiplication formula that uses I/I (image) and D/d (design) as symbols to generate a polynomial desire image by connecting the number of design images with event and performance images. The linguistic meaning of an image as a symbol is an image (I/i) of the concept of desire to identify the abstract concept of desire.
As an abstract artist, Choi Chul-joo's contemporary conceptual art is an abstract art that abstracts the concept of real formability and reversible shadow of light as unrealistic beings according to the desires of others. This is an abstraction of the other's desire to replace the real place, that is, the other's desire to represent the real place.
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 p132-4, 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 Chul-joo Choi, morning glory p138-4, a hand-painted picture on a computer
The conceptual aesthetics of figures that design the reality of desire are the result of designing a lack of empirical desire to abstract aesthetic experience into objective reality as a value of life, and formative value is obtained from real images by satisfying the lack of necessary objects.
Here, the object of desire is insufficient and follows the other's concept of desire to obtain semantic correlation through empirical consciousness movements.
Therefore, the actual image as a structure of desire has an aesthetic value that conforms to the conventional practice by omitting shadow images from the real world and placing them in the range of light due to the concept of desire, and settles in the structure of the real subject and the essence of reality. By inductively illuminating the concept in the reversible shadow of light, it clearly embodies the linguistic meaning of the image and the real phenomenon.
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 p139-2, 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.
■ 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."
Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p132, a hand-painted picture on a computer
