개념추상실재학 디자인｜Realism Design
개념추상실재학 디자인｜Conceptual realism design 5
개념추상실재학 디자인｜Conceptual abstract realism science design [5] 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 [5] 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./ Korean Contemporary Cartoon Designer Choi Chul-joo's News cartoon & Art Exhibition Cartoon./ 개념미술가 역사화 만화가 최철주 뉴스만화개인전: 뉴스부산만평, 만평K-Pop스타 만화디자인평론/ 팝아티스트 만화전: 만화평론한줄뉴스./ 한국 뉴스 만화평론 [168] 견강부회·牽强殕悔: 인왕산 모르는 호랑이처럼 권력자가 이치에 맞지 않는 부패를 억지로 끌어붙이면 후회한다.
현대 개념이미지 설치 미술가 루이 최철주 사실적 구조의 개념적 실재 이미지 설치미술 퍼포먼스 디자인: 현대 개념 설치 미술가 현대미술 개념 만화뉴스전 개념설치미술 작품: 개념미술가 역사화 만화가 최철주 뉴스만화개인전: 뉴스부산만평, 만평K-Pop스타 만화디자인평론/ 팝아티스트 만화전: 만화평론한줄뉴스
현대 개념설치미술가 현대개념미술 만화 뉴스전 뉴스개념 설치미술 작품: 개념 미술가 역사화 만화가 최철주 뉴스개념 만화 개인전: 뉴스부산만평, 만평K-Pop스타 개념만화디자인평론/ 팝 아티스트 뉴스개념 만화전: 만화평론한줄뉴스
Korean Contemporary conceptual Cartoon Designer Choi Chul-joo's News Manwha Exhibition = News conceptual Cartoon Artist & conceptual Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation: A line News of Choi Kwan-woo’s Manwha Review, Newsbusan Manwha Review, Manwha Review Choi Chul-joo K-Pop Star 20191129-20191205, Hansae Museum
현대 개념 이미지 설치 미술가, 현대미술 개념 만화가 & 개념미술가 최철주의 개념이미지 설치미술 만화 작품 전시 개념은 초기 개념미술의 개념으로 한 회화성의 복귀다. 즉 다다이즘 이전의 상징적 이미지로서의 개념 만화적 회화 작품으로 생성하는 개념미술이다. 따라서 그의 현대 개념미술은 시사만평처럼 현상적 이미지를 비판하지만 상징적 회화성으로 한 의미적 가치를 말한다.
미술품에서 Ready made 기성품이 회화성을 대신할 수 없고 Marcel Duchamp 뒤샹처럼 창조된 개념과 그의 동조자 Joseph Kosuth 조셉 코수스가 말한 철학에 따른 메시지를 말한다. 반면에 최철주의 욕망 개념 미술이론에서의 상상계의 허상을 상징 개념으로 한 최철주의 개념미술은 시사만평으로 개념의 의미를 욕망 개념의 회화속에 메시지를 담는다. 그것은 사건의 현장 사진을 만평으로 비판적 시각과 욕망적 회화의 삶적 가치를 교합시킨다. 이것은 수학적 개념과 철학적으로 의미화한 언어적 해석을 넘어서 사건의 현장과 공연 이미지 사진을 만평으로 한 비판적 시각과 욕망적 회화로서 삶적 가치를 교합시킨다. 여기서 욕망적 회화는 임의적인 철학성보다는 타자의 욕망을 응시로서 순간적으로 이성적 지각할 수 있는 개념 이미지로 보이는 회화성을 말한다.
현대에서 일상의 행위 공간을 만화로 재구성한 조형적 개념 이미지의 현상체로 구성한 것이 뉴스만화미술이다. 이것은 근대까지의 역사화와 동일하게 사건과 삶의 현상을 보이는 현대개념만화미술로서의 뉴스만화로 한 현대 개념 이미지를 회화설치미술로 한 역사화다.
현대만화미술역사화가(現代漫畫美術歷史畫家)로서 뉴스만화를 현대 개념미술 이미지를 회화로 설치하는 미술가 루이 최철주는 뉴스만화미술로한 만화개념을 한줄 뉴스로써 현대만화미술역사화의 의미를 말한다.
개념미술가 역사화 만화가 최철주 뉴스만화개인전: 뉴스부산만평, 만평K-Pop스타 만화디자인평론/ 팝아티스트 만화전
Cartoonist as a conceptual artist Choi Chul-joo, 'Jeongcho and Inwangsan Tiger,' Marker on Paper, 2010
만화가이자 개념 예술가 최철주, 「정초와 인왕산 호랑이」, 마커 온 종이, 2010
최철주의 만화 리뷰의 ‘한 줄 뉴스’는 만화(정초와 인왕산 호랑이)의 말풍선 속 문장과 동일하다. 이 작품은 2010년 「호랑이의 해」 전시에서 한국 1세대 만화가인 조관제, 조항리, 신문수, 김마중, 윤성윤, 이정문, 강창욱, 서서영과 함께 그려졌다.
최철주의 만화 리뷰는 「호랑이의 해」 전시에서 말풍선 속에 전시된 ‘인왕산도 모르는 호랑이가 있다!’라는 한 줄 뉴스에서 시작되었다.
전시에서 이 만화 리뷰의 한 줄(‘인왕산도 모르는 호랑이가 있다!’)은 말풍선 속에 표현되었으며, 이는 현대 역사 예술가 최철주가 그린 현재의 최관우 만화 리뷰 뉴스의 시작이었다.
이 작품은 당시 호랑이 속담에서 착안한 만화 리뷰 문장을 담은 컷 만화로, 아름다운 여성 정초와 그녀를 뒤에서 바라보는 호랑이를 함께 그렸다.
이것은 현대미술의 팝아트 형식으로 구현된 작품이며, 만화를 통해 개념 예술을 재현하는 새로운 개념을 소개하는 팝아트이다.
이 만화 리뷰의 한 줄 문장은 속담처럼 사건의 전개와 결과를 결합하여 컷 만화 속에서 사건의 진실, 사건의 그림, 그리고 일상의 이야기를 재구성한다.
이는 현대의 의례적 현상과 K-팝 엔터테인먼트 산업의 뉴스 사건 구조를 스케치 만화를 통해 보여준다. 또한 세계 공동체와 일상 속 삶과 죽음의 사건을 엿볼 수 있게 한다.
예를 들어, 2002년 2월 부시 대통령과 김대중 대통령의 정상회담에서는 북한 문제에 대해 큰 견해 차이가 있었다. 나는 당시 신문에 「동상이몽」이라는 한 컷 만화와 네 컷 만화를 발표하려 했지만, 결국 하지 못했다.
그 이후 최철주(최관우)는 뉴스 부산 문화 전문 기자로서 2018년 9월 10일부터 뉴스 부산에서 「뉴스 부산 만평(풍자만화)」을 그리기 시작했다.
Tiger Cartoon Exhibition leaflet, 2010
호랑이 만화 전시 리플렛, 2010
한 컷 뉴스 만화는 사건의 과정과 결과를 결합하여, 사건의 인물을 사진 스케치처럼 그려내고 그 사건에 맞는 만화 리뷰의 한 문장을 시각 속에 담아낸다.
한 컷 만화는 그 의미를 드러내며, 만화 리뷰의 한 문장은 만화 이미지를 즐김으로써 의미를 획득한다. 여기서 의미는 만화 이미지와 동일시되며, 관람자가 그 의미를 볼 수 있는 중요한 공간이 된다.
이 공간은 감정이 사건의 주인공과 실제 사건 장면처럼 보이게 하여 뉴스 만화 리뷰의 본질을 구현한다.
최철주의 「카툰 뉴스」는 뉴스를 제시하는 만화이다. 이 만화는 사건의 진동을 한 컷 만화로 표현하며, 반복되는 뉴스의 박동을 담아낸다.
따라서 만화는 사건 현장의 외적 이미지를 뉴스의 현실성에 기반한 구조적 만화 속 의미 수준으로 동일시한다.
뉴스는 공간적 연쇄 속에서 세계 마을의 일상처럼 진동한다.
만화를 리뷰하고 사건에 맞게 리뷰를 구성함으로써 만화 리뷰의 뉴스가 만들어지고, 뉴스의 이미지를 사건에 맞게 만화처럼 적응시킨다.
- 시사평론가로서 최철주는 현대미술 팝아트 작품과 웹툰 만화 뉴스에서 한국 만화 뉴스를 그리는 만화 평론: 견강부회·牽强殕悔: 인왕산 모르는 호랑이처럼 권력자가 이치에 맞지 않는 부패를 억지로 끌어붙이면 후회한다. As a cartoon critic, Choi Chul-joo is a cartoonist who draws Korean cartoon news in contemporary art works and webtoons.
카툰 만평으로 보는 문화칼럼 [17] 문화평론가 최철주 한국 뉴스 만화평론 [168] 문화칼럼 한줄: 견강부회·牽强殕悔: 인왕산 모르는 호랑이처럼 권력자가 이치에 맞지 않는 부패를 억지로 끌어붙이면 후회한다. (2023.12.05.) / 최철주 프리랜서 기자(Reporter Choi Chul-joo’s Cartoon Review) 최철주 한국 뉴스 만화평론의 라캉 디자인 방법론적 만화 문화평론(blog.naver.com/c7manwha):Desire cencept's Design Methodological Criticism of Choi Chul-joo's Cartoon Review
- 한국 화가, 개념미술가, 현대미술가, 추상화가, 미디어 아티스트, 팝 아티스트, 만화가 & 만화평론가 최철주 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.
- 카툰 디자이너 최철주 현대 만화 미술 역사화가 & 현대 개념 이미지 설치미술가 작품 Cartoon designer Choi Chul-joo, contemporary cartoon art historical painter & contemporary concept image installation artist's work
Louis Choi Chul-joo's cartoon criticism: People in power regret if they force unreasonable corruption.
만평/ 카툰 만평 뉴스 & 한국 뉴스 만화평론 Review of Korean News Cartoon [168] 견강부회·牽强殕悔: 인왕산 모르는 호랑이처럼 권력자가 이치에 맞지 않는 부패를 억지로 끌어붙이면 후회한다. (2023.12.05.)/ 최철주 프리랜서 기자(Reporter Choi Chul-joo’s Cartoon Review)
카툰니스트 최철주 카툰 만평 한줄 [168] 인왕산 모르는 호랑이처럼 권력자가 이치에 맞지 않는 부패를 억지로 끌어붙이면 후회한다.
. 권력자가 이치에 맞지 않는 부패를 억지로 끌어붙이면 후회한다.
. People in power regret if they force unreasonable corruption.
. Les gens au pouvoir regrettent s'ils forcent une corruption déraisonnable.
■ 카툰 만평으로 보는 문화칼럼 한줄: 인왕산 모르는 호랑이처럼 권력자가 이치에 맞지 않는 부패를 억지로 끌어붙이면 후회한다.
■ 미술평론가 최철주의 시각문화 칼럼: 인왕산을 모르는 호랑이, 즉 전문성 없는 권력자처럼 불합리한 부패를 강요하면 그림자가 드러나 후회하게 된다.
= 중첩된 빛에 의해 밝아지는 빛의 시간성은 실제 이미지를 제거하고 그림자로 표현하는 현실적인 구조에서 현실적이다.
또한 현실을 빛의 가역적 그림자로 해석하는 최철주의 욕망예술론은 욕망의 배경이 되는 '나팔꽃'이라는 소재를 그린 대나무 숲으로 뒤덮인 그늘 속에서 구현된다.
카툰 만평/ 시사 평론가 & 카툰니스트 최철주 카툰 만평 뉴스: 한국 뉴스 만화평론 Review of Korean News Cartoon [168] 견강부회·牽强殕悔: 인왕산 모르는 호랑이처럼 권력자가 이치에 맞지 않는 부패를 억지로 끌어붙이면 후회한다. (2023.12.05.)/ 시사만평가 & 카툰니스트 최철주 시사만화평론, 팝아트만화뉴스, 만화평론, 개념만화평론 Comics critic & cartoonist Choi Chul-joo, current affairs cartoon review, pop art cartoon news, cartoon review, and conceptual cartoon review. 시사 평론가 최철주는 뉴스부산 인터넷신문 문화기자했고, 그는 현대 미술 작품과 웹툰에서 시사 만평 뉴스와 추상화를 그리는 문화평론과 디자인평론가인 추상 화가입니다. Choi Chul-joo, a current affairs critic, was a reporter at the Ministry of Culture of the News Busan Internet Newspaper. He is a cultural design critic and abstract artist who paints Current affairs cartoon cartoons News and abstract paintings in contemporary art works and webtoons. ■ 카툰니스트 최철주 카툰 만평 한줄의 이해를 도모하고자 시사 평론가 최철주가 새로운 한자 구성(단어+단어)으로 한 사자성어의 제목으로서 의미를 재해석한 만평을 한줄 문장으로 칼럼하여서 게재함. ▶殕(부): 부패하다. ▶悔(회): 후회
한 컷 만화는 이미지로서 사건 인물을 스케치화하여서 비주얼에서 드라맥틱한 사건과 어울리는 만화개념을 한줄로 한 이중 의미의 구조로 한 개념 전개와 카툰 이미지로서의 결과를 조합시킨 한 컷 카툰이다.
한 컷 카툰은 만평으로 의미를 보이고 그 만화평론 한줄은 만화 이미지를 누려서 의미를 가져간다. 여기서의 의미는 만화 이미지와 동일시되어서 그 의미를 볼 수 있도록 개념 이미지를 설치미술로 보게 하여서 유의미한 만화의 공간을 이미지로 설치한 회화로 보인다.
그 공간은 사건의 주인물과 실제 사건 현장을 배경과 같이 감정이 스며들게 하여서 뉴스 만화평론의 특성을 살린다.
최철주의 만화평론 한줄 뉴스는 뉴스를 표시하는 상징적 카툰이다 그 카툰은 마치 뉴스의 고동소리가 반복되어서 만화평론의 한줄이 주파수처럼 한 컷 카툰으로서 사건 진동을 설치한 이미지로 개념 이미지를 설치한 회화로 보인다.
개념미술가로서 만화가 최철주는 사건현장의 뉴스 속의 어떤 기표적인 개념 이미지와 카툰을 동일시함으로서 그 뉴스의 실제를 중심으로 구조화된 카툰 속에 의미의 수준을 정한다.
정해진 사건 이미지를 회화로 설치한 형상은 지구촌의 일상처럼 여러 공간 차원을 이루는 연쇄 속에서의 카툰만평으로 진동한다. 이것은 사건 주인물과 사건 현장에 강약에 크기를 정하여 만화평론 한줄 뉴스를 만들고 카툰처럼 뉴스의 형상을 역사화와 동일하게 회화 하여서 공간 이미지에 설치하여 맞춘다. / 글. 만화평론가 최철주 (개념미술가 & 문화디자인박사)
Conceptual art Artist, Louis Choi Chul-joo
20191129-20191205, Hansae Museum
A line News of Choi Kwan-woo’s Manwha Review, Newsbusan Manwha Review, Manwha Review Choi Chul-joo. K-Pop Star 20191129-20191205, Hansae Museum
Planning. Former Hansae Museum Curator Louis Choi Chul-joo (historical artist and cartoonist)
A realistic abstraction of the concept of desire based on Cartoon Manpyeong, which uses photographs of Choi Chul-joo's events as webtoon news cartoon design works
Korean Contemporary Cartoon Designer & contemporary cartoonist and historical artist Choi Chul-joo's "News Manwha Exhibition": News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation: A line News of Choi Kwan-woo’s Manwha Review, Newsbusan Manwha Review, Manwha Review K-Pop Star
Choi Kwan-woo's cartoon review "a line News of Manwha Review" is a Korean contemporary news manwha with a single cut of cartoon
According to a line of news in the manwha review, it is not an actual news image but a cartoon to show the consciousness of news.
This is because of a line of cartoon review that comics reveal meaning within the realm of news. In other words, the effect of attracting attention to news cartoons is one sentence that reviews the standards of news images.
Euclidean geometry of visual space concept caused the meaning of a new time in Albert Einstein's theory of relativity to perceive the visible space of visual image
In modern times, it is news cartoon art that consists of a phenomenon of formative geometry that reconstructs space into cartoons. This is a contemporary cartoonist and historical painting that shows the same phenomena of events and life as the historical painting until modern times.
Former Hansae Museum Curator, Dr. Choi Chul-joo(崔徹柱), Ph.D. in cultural design, a contemporary cartoonist and historical artist(現代漫畫美術歷史畫家), Cartoonist who speaks of meaning in one line of Cartoon Review and abstract painter who draws the concept of desire in Cartoon's meaning.
Nevertheless, it sheds light on the news through realistic cartoons as an invisible comment.
Therefore, news comics eliminate the illusory space of the figures shown in the news through non-perspective space descriptions to describe the meaning of events without reproducing reality. It's a contemporary cartoon, like Picasso, that expresses the object in time. and reconstructs the pictures of events with a stationary time and draws realistic cartoons with metaphors of a line of review language's concept.
The meaning of a manwha review in a single line of news is a comic image structure in which the meaning of a single line of news is drawn in a single image, resulting in the retroactive meaning of the news, and the metaphorical meaning behind the sentence of a cartoon review is disclosed.
This cartoon is a Korean cartoon, or manwha, with a image of cartoon reviews and a line news of reviews, discussing the authenticity of the incident tailored to the news and portraying its image as a cartoon.
In this way, it's "A line News of Choi Chul-joo’s Manwha Review" and "NewsBusan Manwha Review" to draw the news of the incident in a single cut cartoon and describe the cartoon in a single line reviews. "Manwha Review Choi Chul-joo.Kang Gyeong-ho K-Pop Star" describe the Korean News of incident in a single sketch cartoon
This is the same as cartoon critic Choi Chul-joo's "A line News of Choi Chul-joo’s Manwha Review", as he did of cartoon reviews "Ko Woo-young's Suhoji.“
In other words, there is a retroactive semantic effect in a line of cartoon review, with the simultaneous appearance of language and linguistic expression, and thus an image cartoon meaning the whole cartoon review.
As a contemporary Korean cartoon designer, Choi Chul-joo reconstructs the incident photo of the news as a process of drawing cartoons, drawing a sketch cartoon of the news with the concept of the background of the incident and a line of cartoon reviews. It is a cartoon of several scenes arranged like storyboards with news processes and results in one result of the news like a storyboard.
Therefore, Choi Chul-joo's cartoon review "A line News of Choi Chul-joo’s Manwha Review" is a combination of a realistic cartoon sketch of a photo and a cartoon review in line with the events carried out by the news.
Reconfigure the background picture of an event to match what an event calls a new meaning of cartoon reviews and draw attention to a cartoonized distinct cartoon sketch.
And he draw like a scene in an episode with a realistic cartoon sketch so that the thema of the event and the scene of the incident will be presided over.
Internet newspaper (www.newsbusan.com) NewsBusan, epitomizing the news cartoon make the cut, since September 10 in 2018 and comic sketches and line up in the news.
It is Cartoon reviews Choi Chul-joo and KangG yeong-ho's K-Pop star that made the news of Korean celebrities' incidents into a cut in an episode of a cartoon reviews.
"Choi Chul-joo's Manpyong K-pop STAR" section is newly established in NewsBusan (July 31,19) to introduce cut cartoons and cartoon reviews featuring K-pop stars covering new talents and stars.
In addition, Choi Chul-joo's Cartoon Critic 'A line News is a cut cartoon reviews with events and eye-catching news in the world of the global village.
Abstract painting of the concept of desire in the sense of cartoon: morning glory p49-4
Cartoonist as a conceptual artist Choi Chul-joo, 'Jeongcho and Inwangsan Tiger,' Marker on Paper, 2010
"A line News of Choi Chul-joo’s Manwha Review" is the same as a sentence in the speech bubble of the cartoon (Jeongcho and Inwangsan Tiger), which was drawn along with Korean first-generation cartoonists Cho Kwan-je, Jo hang-ri, Shin Moon-soo, Kim Ma-jung, Yoon Seong-yoon, Lee Jung-moon, Kang Chang-wook, and Seo seo-young at "The Tiger Year" held in 2010.
Choi Chul-joo's cartoon reviews started with a line news of manwha review that was displayed in a speech bubble(There's a tiger who doesn't even know about Inwangsan!) at "The Tiger Year" held in 2010.
In the exhibition, a line of cartoon reviews (There's a tiger who doesn't even know about Inwangsan!) was displayed in a speech bubble, which is the beginning of the current Choi Kwan-woo cartoon review news drawn by modern historical artist Choi Chul-joo.
It is a cut cartoon with a sentence of cartoon reviews conceived by the tiger proverb at the time, and Jeong-cho, a beautiful woman, and a tiger looking at woman from behind.
This is a modern art work that is shaped as a pop art of modern art, and is a pop art that introduces a new concept that reproduces conceptual art in cartoons.
This a line(sentence) of cartoon reviews depicts a combination of developments and consequences, as the proverb says in a cut cartoon, which reconstructs the truth of the incident, the picture of the incident and the daily story.
It actually provides an image of the contemporary ritualistic phenomenon and the K-Pop entertainment industry's news incident structure through sketch cartoon.
It also provides a glimpse of events and news in the global community and everyday life and death.
For example, at the February 2002 summit between President Bush and President Kim Dae Jung, there was a big difference in views on North Korea. I was going to publish the one-cut and four-cut comic "Dongsangimong" in the newspaper, but I couldn't
Since then, Choi Chul-joo(Choi Kwanwoo), a reporter specializing in news Busan culture, has started drawing "News Busan Manpyeong(satirical cartoon)" in News Busan since 2018 (September 10).
Tiger Cartoon Exhibition leaflet, 2010
One cut ne manwha is a cut cartoon that combines process and results of event with a single sentence of cartoon reviews that match the event in the visual by sketching the character of the incident as a sketch of photo.
One cut cartoon shows its meaning and one sentence of the cartoon review takes its meaning by enjoying the cartoon image. The meaning here is equated with the image of the cartoon and becomes a significant space for the viewer to see its meaning.
The space embodies the nature of the news cartoon reviews by allowing emotion to look like the main character of the event and the actual event scene.
Choi Chul-joo's Cartoon News is a cartoon that presents news. The comic strip depicts the vibrations of events as a single cut cartoon with the beat of the news repeated over and over again.
Thus, the cartoon equates any outward image of the event scene to a level of meaning in the structured cartoon centered on the actuality of the news.
The news in a chain of space-levels vibrate like the everyday life of the global village.
Go to the review of cartoons and review them to match the events, making the news of the cartoon review and adapting the images of the news to the event like cartoons. / Writing. Former Hansae Museum Curator Louis Choi Chul-joo (Doctor of Cultural Design)
Contemporary artist Louis Choi Chuljoo
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation: Newsbusan Manwha Review
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review & Manwha Review K-Pop Star
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review & A line News of Choi Kwan-woo’s Manwha Review
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Newsbusan Manwha Review
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star
Abstract painting of the concept of desire in the sense of cartoon: morning glory p71-2-3
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star
Abstract painting of the concept of desire in the sense of cartoon: morning glory p104-5
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : A line News of Choi Kwan-woo’s Manwha Review
Abstract painting of the concept of desire in the sense of cartoon: morning glory p26-14
News Cartoon Artist & Installation Artist Louis Choi Chuljoo's historical painting with conceptual image installation : Manwha Review K-Pop Star
Abstract painting of the concept of desire in the sense of cartoon: morning glory p112-2
The concept of desire is realistically abstracted as a historical painting based on the photograph of the event by using the photograph of Choi Chul-joo's case as a design work for webtoon news cartoon review
Louis Choi Chul-joo's desire concept image in an event Historicalization: Great powers are selling weapons to the brink of war amid trade tensions with smaller nations
Abstract painting of the concept of desire in the sense of cartoon: morning glory p103-4
Louis Choi Chul-joo's desire concept image in an event Historicalization: When you see gain, you throw away what you think
Abstract painting of the concept of desire in the sense of cartoon: morning glory p23-4
Louis Choi Chul-joo's desire concept image in an event Historicalization: judge a country's crisis and eliminate its pitfalls
Abstract painting of the concept of desire in the sense of cartoon: morning glory p24-3
Louis Choi Chul-joo's desire concept image in an event Historicalization: The Bank has begun scaling back its size and staffing as part of its role in social makeup
Louis Choi Chul-joo's desire concept image in an event Historicalization: It is a crime to turn your life around by attacking people who are moving your country
Louis Choi Chul-joo's desire concept image in an event Historicalization: China fought back in a trade war with the United States
Louis Choi Chul-joo's desire concept image in an event Historicalization: Chinese feet to match American shoes
Abstract painting of the concept of desire in the sense of cartoon: morning glory p46-6
Louis Choi Chul-joo's desire concept image in an event Historicalization: Mexico 'Don't be stimulated by US immigration dispute' by immigration dispute
Abstract painting of the concept of desire in the sense of cartoon: morning glory p4-10
Louis Choi Chul-joo's desire concept image in an event Historicalization: throw away the polluting water that would be catastrophic and cause disease
Abstract painting of the concept of desire in the sense of cartoon: morning glory p4-12
Louis Choi Chul-joo's desire concept image in an event Historicalization: Reconciliation takes precedence over politics
Abstract painting of the concept of desire in the sense of cartoon: morning glory p24-3
Louis Choi Chul-joo's desire concept image in an event Historicalization: Stocks lose money even if they think carefully
Abstract painting of the concept of desire in the sense of cartoon: morning glory p58-4
Louis Choi Chul-joo's desire concept image in an event Historicalization: Theresa May to drop out and Britain to welcome new Prime Minister
Abstract painting of the concept of desire in the sense of cartoon: morning glory p38-4
Desire Concept Image Installation Design: The "K-POP STAR" section was newly established in News Busan (July 31, 2019), introducing the activities of K-POP stars that encompass stars in cut cartoons and cartoons.
Abstract painting of the concept of desire in the sense of cartoon: morning glory p19-3
Abstract painting of the concept of desire in the sense of cartoon: morning glory p15-9
Abstract painting of the concept of desire in the sense of cartoon: morning glory p76-4
Abstract painting of the concept of desire in the sense of cartoon: morning glory p112-2
Abstract painting of the concept of desire in the sense of cartoon: morning glory p106-11
Abstract painting of the concept of desire in the sense of cartoon: morning glory p101-2
Louis, Chul-joo Choi, morning glory p106-12-Jeongcho and Inwangsan Tiger, a hand-painted picture on a computer
Desire Concept Abstraction ■ Design Process/ Abstraction In <Choi Chul-joo morning glory>, Choi Chul-joo's theory of abstract art is formalized to convert the object image of desire into meaning by repeating the theory of desire to the abstraction. This has the meaning of expressing the desire of others in painting by repeatedly applying the desire formula of the imagination world and Choi Cheol-joo, and as a result of applying the theory of desire art to painting, the value of approaching the beauty of formality of the desire of others is obtained.
The concept of desire
■ "Choi Chul-joo morning glory" is not the object of the subject, but the spatial background of the other's desire. It is the same as a space of life that is consistent like the sky. It connects with cartoon review and pop art that represent the space of life, but does not criticize and judge, but reproduces reality as cartoon review with photographic images of events and performances. The effect of conceptualizing the reality of the symbol object as the desire of the other is structured in the shade of reversible light to form the concept as a realistic conceptual art.
The desire for others as chickens that the chick imagines is an abstract painting that hides the inconsistency of the chick's imagination in the shadow of reversible light with the background of the desire for the 'morning glory' as the image of 'Choi Chul-joo's Morning glory'.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p34-7-1-The average lifetime has been extended to extend the work period: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event. * Choi Chul-joo's Concept of Desire Abstract Art Theory
현대 포스터 추상화 뉴욕 전시 작품: 현대 추상화 작품: Louis, Chul-joo Choi, morning glory p55-3-People in power regret if they force unreasonable corruption, a hand-painted picture on a computer
The desire abstract design method consists of a revolutionary form of painting that deviates from perspective by drawing images with different meanings at different points in time and gathering them on one screen. This is a new attempt to reject the mannerism of the romantic painters in their paintings. In other words, it pursues a new style of contemporary art by breaking away from modern art with the abstract painting of "morning glory" in the shade of reversible light in which the subject of light projected in romantic paintings is the place of existence. / Contemporary art <morning glory> Abstract painting Choi Chul-joo Analysis
An object (Louis Choi Chul-joo, a morning glory outside a window), which depicts the meaning of a shape seen in a semantic space created by reversible light, is an abstract space that can be reversed into a real shape by structuring an image that hides the desire of others in time in the shade of reversible light, and the meaning of conceptual abstraction hidden by the actual changed movement of the shape, or the image in the mirror, is an image of a virtual non-realistic and shows an abstract image that reveals the place of the other's unconscious desire.
The object depicts the meaning of the shape seen in the meaning space created by reversible light. The object <morning glory window> means an abstract space where a chick can structure the meaning of a certain shape in the shadow of reversible light and reverse the object into a real shape by structuring the meaning of a certain shape hidden in the long time when the desire of the other is fossilized. As a seat, the actual shape is completed in the shadow of reversible light in which the reality of the exhibition poster shape is changed. It is the concept of the abstract painting <morning glory window> that obscures sound from the movement of light that formed the shape. (Abstract painter Louis Choi Chul-joo <morning glory window> Concept: Choi Chul-joo Modern Art Theory)
Concept of Desire <morning glory p55-3-People in power regret if the force unreasonable corruption> as art is an image that can momentarily see the desires of others functioning gazefully in the landscape.
This is a distorted planarity that seems to have a consistent meaning of morning glory in painting. The morning glory is the same as the real(le Réel) reflected in the mirror, but the shape of the background is not the same.
Artistic discourse on reality and non-real continues according to the viewpoint. Real and non-real objects cannot be selected as visible images that reproduce objects, and pictorial images that express real images were identified as non-real images. Therefore, the way to find reality in an object is to reveal it through the abstraction of "morning glory" as a distorted planar image in the shade of reversible light similar to the object of desire.
This is because abstraction in the same meaning as a conceptual form, which is a realistic form of non-realism with the same structure of meaning, is an abstract as a conceptual structure, but abstraction as the same meaning with different shapes is a real non-realistic being as an ideological atypical being with different colors and sizes. The existence defines an abstract space as a real reversible shape and is an image that is hidden by a movement in which the shape is actually changed in a reversible shade of light, and is an image of the exhibition poster image of "morning glory". This abstracts the cultural concept of desire into installation art.
현대 포스터 추상화 뉴욕 전시 작품: Louis hoi Chul-joo, morning glory poster 55, a hand-painted picture on a compute, 2022
Cartoonist as a conceptual artist Choi Chul-joo, Jeongcho and Inwangsan Tiger, Marker on Paper, 2010
The image is shaded and represented in a surface area suitable for the theme of "Jeongcho and Inwangsan Tiger", a pop art concept, in the actual shape and gaze shape of "Choi Chul-joo's morning glory P55".
Here, drawing a picture as an object of change in custom is another image that seems to be an object. It is hidden and disappeared as a material of the object drawn as a small piece that is not visible in space. A small piece of the object shows a real space that is reversible through image thinking movement that monochromates and actually changes the shape. It shows how the object as another reality is revealed. In the abstraction, it appears to be a desire image, a distorted plane image that reverses perspective, along with an image that appears to be a perspective visual system.
If the place of Choi Chul-joo's morning glory P55 in the abstract space is no longer specified as a poster and applied to Lacan's "Four Directional of Interpretation (Eé=Jacques Marie Émile Lacan, Écrites, Seuil, 1977, 53)", the painting work is interpreted as "Four Directional of Interpretation" by placing the line of 'utre' and the line of the horse (moi) a and the line of interpretation (utre) and painting (Es) S in a diagonal position where they intersect as a symbolic system.
Here, Lacan conceptual art abstraction begins with the imagination world, where the infant reveals reality through mirror theory identifies the representative image reflected in the mirror with the imaginary image. Recognizing that the representative image is not himself as a subject, it transitions to an abstraction interpreted as a symbolic system through the separation of the symbolic image of the sign and reality. The abstract image and reality meet with reality through division. As reality, the representative image is revealed as a dwarf image, but as non-realistic, it is an encounter, that is, abstraction, that is, a contradiction with reality. (ACN. 2022.10.14 Choi Chul-joo's interpretation of the 'Four Directional of Interpretation of Lacan')
현대 포스터 추상화 뉴욕 전시 작품: Louis hoi Chul-joo, morning glory poster55-Jeongcho and Inwangsan Tiger, a hand-painted picture on a compute, 2022
Desireful conceptual art abstraction, which replaces the phenomenal place of abstract meaning with an exhibition poster, can distinguish the place of the shape and conceives the meaning of the image that interprets the shape. The shape is abstract in color and size similar to the meaning of an ideological structure to speak another meaning, but in the imagination, the abstract meaning of conceptual art is identified with reality, and the image and abstract meaning of the object are identified outwardly as the same subject, and the subject internally forms a transformed abstract meaning. This refers to the abstract meaning of a shape, which defines an abstract space that can be actually reversible and refers to the design meaning of an abstract shape in which the shape changed by the actual changed movement of the shape is covered in shades.
Its meaning is designed as "Choi Chul-joo morning glory poster 55-Jeongcho and Inwangsan Tiger", which is conceptually abstracted as a symbolic language symbolizing flowers that imitate the other's desire.
It is reproduced as an abstract object as an abstract object as an object of desire image by designing a shape that represents the desire of the other in the abstract "Choi Chul-joo's morning glory". In the perspective visual system, the object as a different momentary gaze is abstracted from the other's desire point of view, as the visual system creates a place of one shadow with a hidden reversible light.
In this way, objects abstracted as desire conceptual art form a dwarf image expressed through a desire revealed in the oppressed unconsciousness of others to acquire artistry beyond generality as a design, create objects in the shadow of conceptual formability with the desire of others as beings, and exist as a meaning.
As a semantic entity, the object contains the formative value of the object as an autonomous choice of the other's desire by transforming the object's image into a meaning structure with a plane image that is distorted from the other's desire point of view.
And a small piece as the other's desire hidden in the chicken's background shows a real abstract space that is reversible through a representative movement that actually changes its shape. This is positioned by abstracting the other's desire in a space where the object can be actually reversed as the meaning of the existence of an abstract object.
Beyond mathematical concepts and philosophically meaningful linguistic interpretations, "Choi Chul-joo's morning glory" combines critical perspective with the life value of desire painting with a picture of the scene of the event. Here, desireful abstract painting refers to the painterly nature that can momentarily perceive the desires of others by staring at them rather than arbitrary philosophicality. (ACN · April 20, 2022 / the desire of the other as a toddler <morning glory> New York Exhibition docent 1)
The image is shaded and represented from the actual abstraction "Choi Chul-joo's morning glory p33-4" shape and the gaze shape to the surface area suitable for the theme of the pop art work "morning glory p33-4".
Here, drawing a picture as an object of change in custom is another image that seems to be an object. It is hidden and disappears as a material of an object drawn as a small piece that is invisible in space.
A small piece of the object shows a real space that is reversible through the thought movement of an image that is monochromated and actually transformed into the shape. It shows how an abstract object as another reality is revealed. In the abstract object, it appears as a desire image, that is, a distorted plane image that reverses perspective, along with an image that appears to be a perspective visual system.
In "morning glory poster 55", which is a conceptual art, the abstract area of painting in which a desired specific effect occurs as an exhibition poster meaning transfers the desire of the other who functions visually in the landscape to an image that can be seen momentarily. This is a distorted planarity that seems to have a consistent meaning of morning glory in painting. The morning glory is the same as the reflection image of the mirror (le Réel), but the shape of the background is not the same.
This is because abstraction in the same meaning as a conceptual meaning structure with the same structure of meaning is an abstract form with a realistic form of the same meaning, but abstraction as the same meaning with different shapes is real as an ideological atypical entity with different colors and sizes.
There the existence defines an abstract space as an actual reversible shape and refers to the abstraction meaning of the exhibition poster concept art in which the shape is hidden by the actual changed movement in the shade of reversible light.
In the abstract meaning, a shape that represents the desire of the other is designed in the "morning glory window" and reproduced as an abstract object as an object of desire image. In the perspective visual system, the object as a different momentary gaze from the other's desire point of view revealed in the unconscious mind is abstracted by creating a place of one shade with reversible light in which the visual system is concealed.
In this way, objects abstracted as desire conceptual art form a dwarf image expressed through a desire revealed in the oppressed unconsciousness of others to acquire artistry beyond generality as a design, create objects in the shadow of conceptual formability with the desire of others as beings, and exist as a meaning.
As a semantic entity, the object contains the formative value of the object as an autonomous choice of the other's desire by transforming the object's image into a meaning structure with a plane image that is distorted from the other's desire point of view.
And as a painting image, a small piece as the other's desire hidden in the chicken's background shows a real abstract space that is reversible through the thought movement of the image that actually changes the shape. This is positioned by abstracting the other's desire in a space where the object can be actually reversed as the meaning of the existence of an abstract object.
As a work of abstract Korean painting in contemporary art, the painting <morning glory window p55-3> created with reversible light is overlapped by applying Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to <morning glory window p55-3> as a work of abstraction of modern art. By repeating the linguistic metaphor image, the Choi Chul-joo desire formula is re-applied, and the phenomenal conceptual position reflected by the mirror in another place in one space in the shade of reversible light is determined and abstracted as <morning glory window p55-3>.
Louis Choi Chul-joo 2022 New York Exhibition As the object as a desire image is realized, the poster becomes a non-realistic modern abstraction of reality, not a poster.
현대 포스터 추상화 뉴욕 전시 작품: Contemporary Art & Cartoon Abstraction artworks: Louis Choi Chul-joo, Choi Chul-joo morning glory p55-3-People in power regret if they force unreasonable corruption, a hand-painted picture on a computer
An object (Louis Choi Chul-joo, a morning glory outside a window), which depicts the meaning of a shape seen in a semantic space created by reversible light in the shape of a non-realistic reality, means an abstract space that can reverse the object into a real shape by structuring the image that hides the desire of the other in time in the shade of reversible light, and the meaning of conceptual abstraction hidden by the actual changed movement of the shape, or the image in the mirror, shows an object image of an abstract image that reveals the place of the other's unconscious desire as an image of a virtual non-realistic.
The object image depicts the meaning of the shape seen in the meaning space created by reversible light. The object <morning glory window> refers to an abstract space where a chick can structure the meaning of a certain shape hidden in the long fossilized time by sharing the desire of the other in the shadow of reversible light to reverse the object into a real shape. As a seat, the image of the reality where the sound has stopped is captured with the shadow of reversible light in which the reality of the exhibition poster shape has changed. The concept of the abstract painting <morning glory window>, which equates the current light that has formed the shape with another sound in the other's desired movement, is the object image (Abstract painter Louis Choi Chul-joo <morning glory window> Concept: Choi Chul-joo Modern Art Theory / ACN · 2023. 6. 19. 23:08)
The return of shape is a distorted plane image <morning glory p55-3-People in power unreasonable corruption> that connects the image and the structure of the image and applies it repeatedly, conceals the visual system with a shaded diagram that reproduces an abstract representation image object, but it is an abstract object that shows the realistic shape revealed in the reversible shade of light from a desire point of view revealed in the unconscious as a momentary gaze.
In rational painting as an abstract object, the frame of the morning glory shape is different from objective reality and representational conceptual art so that the dwarf background according to temporality can be experienced with the desire of the other. This is because the object is a real object separated from reality transferred from the symbolic world.
In symbolic reality, the illusion image reveals the object as another being of the object by transforming the image of the object from the other's desire point of view into a dwarf image, and contains the artistic meaning of the object with momentary creativity and autonomous abstraction.
Therefore, it is a fantastic realistic painting with a desire concept. As a signifier, which is a real form in imagination with abstraction, the substance of the artistic form disappears and is fixed as a non-realistic form with the meaning of an existential symbol as a result.
This is an abstraction that mimics the phenomenal abstraction that appears to be a momentary figure. Assuming that a phenomenal image is metaphorical in that abstraction, but it is a non-realistic image, reality exists in a phenomenal image that reproduces reality in a similar way.
Abstract painter Louis Choi Chul-joo 2022 New York Exhibition Poster 55 metaphorically expresses the meaning of life as reality, an area separated from the realm of the symbolic world. The actual meaning of human beings as a cover-up without showing the object to be expressed is compared to <morning glory poster55> and <Jeongcho and Inwangsan Tiger>. In other words, as a cover-up invisible through a speech bubble, "Is there a tiger who doesn't even know about Inwangsan Mountain?" Jeongcho realistically abstracts the meaning of abstracting the meaning of a tiger in Inwangsan Mountain, who replaces the existence, does not know the value of an object.
This is identified in the imagination world, and outwardly, the image of the object and the other are identified as the same subject, and internally, the subject forms the meaning of the transformed other. The meaning formed here is that the infant's imagination as seen by the infant in front of the mirror is an imaginary world that can be enjoyed in the realm of motherhood. The infant achieves its relationship with the visible object through a symbiotic relationship with the biological mother. The imaginary system as a visible metaphor is an image of an object in reality and an image that is satisfied as an infant by looking at the object in the mirror.
In this imaginary world, the image of reality as a metaphor is reflected in the image of reality reflected in the mirror by the desire that is satisfied with the infant, or the image of reality as a metaphor can be a tiger of Inwangsan Mountain in another sense. It presents the image of a pipe and is not a pipe, as shown in the painting <This is not a pipe> by René Magritte. The fact that the reality of a pipe cannot be reproduced is that it cannot be reproduced. In other words, since reality cannot be reproduced through a picture, the picture of a pipe and the desire image and sentence of 'not a pipe' in the picture are the whole picture.
Therefore, in the symbolic realm, the image of reality <Jeongcho and Inwangsan Tiger>, which is the realm of reality separated by the desire of others, is metaphorically expressed. The actual meaning of the object to be expressed in the shade of reversible light is compared to a tiger proverb easily seen in Inwangsan Mountain, and the concept of the desire, which compares the meaning, is abstracted as a realistic representation.
Here, through the division of the phenomenal image and reality, the concept of the desire image and reality are instantaneously encountered. The image as reality is revealed as a distorted flat image, but it is a contradictory encounter with conceptual abstraction as a non-real thing in the shade of reversible light
This perspective visual system, which reproduces abstract objects, conceals the image of desire, but instantly reveals the object as a gaze from a desire point of view revealed in the unconscious.
As an abstraction, the object image reveals the artistry of the semantic structure by forming a dwarf image expressed through the desire revealed in the suppressed unconscious mind of others to get out of generality and create an object as a being.
The autonomous artistry that emerged from the object erases the area of space and the manneristic form of real painting as it reveals the virtual image as a non-real thing.
The form that started in the imagination stems from imaginary recognition regardless of realistic experiences, just as an infant is satisfied with a reflection in a mirror. By not recognizing each signifier image in different forms, it creates a misconception due to imaginary recognition. This misconception suggests that the metaphor seen in the imagination as a realistic form is possible only through the similarity between the different signs. In the process of identifying each form of the signifier image of the realistic shape according to the difference between the signifiers, the infant begins to control himself in relation to others. In this way, "Napal Flower" abstracts the desire of others by repeatedly drawing the difference between realistic image images within an imitation method.
Additionally, by eliminating the volume and reversible shadow of light as an abstract structure, the physical structure is clarified, the image of desire is reproduced, and the recognized reality is summed up, and the image hidden in the long time when the desire of others is commonly fossilized is structured as an abstract cultural space that can reverse the object into a real form by structuring the meaning of a certain shape in the shadow of reversible light, and the sound "regret when a powerful person forcibly pulls unreasonable corruption like a tiger who does not know Inwangsan Mountain" is abstracted in the movement of light. / Writing. Art critic Choi Chul-joo (Abstract Painter & Doctor of Cultural Design)
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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)
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, Desire Concept Realistic Abstract Work: Louis Choi chuljoo, When desire arises, you observe through the window and lie as an opportunity to covet.: 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, Desire Concept Realistic Abstract Work: Louis Choi chuljoo, morning glory p55-3-People in power regret if they force unreasonable corruption: By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> 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 <morning glory> 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> becomes a non-real abstraction of reality.
By repeatedly applying the concept of imaginary world and desire and Choi Chul-joo's desire formula <D(I...I')d=I(D...D'i)i> to the image of the work, it acquires aesthetic value and reveals its meaning by realizing formability in the shadow of reversible light. / The meaning of the shape, which is covered by the actual changed instantaneous movement of the shape, results in linguistic abstraction. In other words, the realistic shape of the other person's desire in a momentary event is a linguistic abstraction of the same meaning. Conceptual art with morning glory and bamboo as cultural background is linguistic abstraction. The abstract creates a conceptual structure based on the shape of subsequent reality fostered by language and hides the desire of others in a momentary event.
■ Choi Chul-joo's Concept of Desire Formul: 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)
Cartoon 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.
Desire Concept Realistic Abstract Work: Louis Choi chuljoo, bamboo forest-114-People in power regret if they force unreasonable corruption: 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-114-People in power regret if they force unreasonable corruption: Desire Design Methodology in Abstract Art Theory on Painting Design, Contemporary Artist Choi Chul-joo's Desire Concept Abstract Design Methodology: <morning glory> 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 <People in power regret if they force unreasonable corruption> 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.
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.
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Background image of an artist's artwork: Louis Chul-joo Choi, the bamboo forest 114, a hand-painted picture on a computer
Background image of an artist's artwork: Louis Chul-joo Choi, In front of the bamboo forest b114, a hand-painted picture on a computer
현대 포스터 추상화 뉴욕 전시 작품: Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p55, a hand-painted picture on a computer
현대 포스터 추상화 뉴욕 전시 작품: Background image of an artist's realistic Abstraction: Louis, Chul-joo Choi, morning glory p4, a hand-painted picture on a computer
■ 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, encapsulated in the metaphor of “morning glory,” presents a radical departure from metaphysical linguistic traditions that emphasize meaning as a stable, referential structure. Instead, his work constructs a visual grammar of desire that foregrounds absence, insufficiency, and the temporality of longing. By generating dramatic event-images suffused with reversible shades of white light, Choi resists the materialist ontology of 18th-century painting, which sought to anchor meaning in physical perception and representation. His images do not depict desire as a fixed object but rather as a dynamic interplay of linguistic abstraction and visual temporality, where the grammatical structure of desire becomes a spatial principle—an architecture of insufficiency.
From a cognitive science perspective, this approach aligns with contemporary understandings of perception as a constructive, symbolic process. Choi’s use of superimposed temporal layers and reversible illumination reflects how the human mind processes absence—not as a void, but as a generative space shaped by the desire of the Other. This resonates with Lacanian psychoanalysis, which posits that desire is always mediated through the symbolic order and structured by the gaze of the Other, and with Freudian theory, which frames desire as a product of unconscious lack. In Choi’s work, the pond becomes a reflective surface—not merely of light, but of intersubjective longing—where the image of an event is not a representation but a manifestation of the desires that circulate beyond the self.
The dualistic nature of his visual grammar—where real images are treated as events and spatial composition mirrors the structure of desire—suggests a cognitive model in which perception is inseparable from symbolic mediation. The reversible light, unfolding over time, transforms material into image, and image into object, thereby collapsing the distinction between representation and event. In this way, Choi’s concept of abstract desire is not only a philosophical proposition but a cognitive experiment: a visual system that externalizes the internal logic of desire, revealing how the mind constructs reality through the absence of what it seeks.
Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and 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.
Choi Chul-joo’s application of the desire formula "D(I...I')d=I(D...D')i" to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.
■ The image of Choi Chul-joo's desire formula, 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 Concept of Desire Formula: “Mathematical Desire and the Image of Reality”, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.
Choi Chul-joo’s “Desire Formula” can be understood as a sophisticated simulation of cognitive architecture, wherein desire is not perceived as a mere psychological impulse or a product of external linguistic structures, but rather as a logical axiom—what he terms “mathematical desire”—that is abstractly designed and rendered into concrete phenomena through visual form, thereby demonstrating how internal absence is externalized as image; and this process, particularly exemplified in the appearance of the “morning glory” as a flat, reversible light image on March 1, 2022, at the Flushing Town Hall exhibition in New York, reveals how the human cognitive system constructs and reflects desire not through direct perception but through symbolic temporality and spatial abstraction, aligning with Lacan’s notion of the subject as constituted by the desire of the Other and Freud’s theory of unconscious lack as the engine of symbolic substitution, such that Choi’s visual language becomes a translation of psychoanalytic structure into visual mathematics, showing that cognition does not merely receive the world but actively reconstructs it through the interplay of absence, logic, and symbolic mediation, and thus, his “Desire Formula” stands as a remarkable artistic experiment that formalizes the ontology of desire into a visual system of cognitive logic.
Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making./ � Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System
Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:
D; The archetype of desire, representing the foundational lack or drive.
I...I'; A sequence of visual representations through which desire is projected.
d; The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.
I; The emergent image of desire, a perceptual unit.
D...D'; The recursive layers of desire, reflecting its multiplicity and transformation.
i; The conceptual resolution of desire, the cognitive abstraction of the image.
This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.
✅ Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop
From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence
D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient
d reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely,
I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (d). This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.
✅ A Visual-Cognitive Model of Desire: Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.
✅ Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System
Choi Chul-joo’s desire formula,
D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:
D; The archetype of desire, representing the foundational lack or drive.
(I...I'); A sequence of visual representations through which desire is projected.
d; The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.
I; The emergent image of desire, a perceptual unit.
D...D'; The recursive layers of desire, reflecting its multiplicity and transformation.
i; The conceptual resolution of desire, the cognitive abstraction of the image.
This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.
✅ Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop
From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence
D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient
d reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (d).
This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing. Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.
Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making.
■ 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.
Choi Chul-joo’s design process of abstract desire unfolds as a recursive and symbolically mediated architecture of perception, in which the concept of desire is not treated as a direct reflection of empirical reality but rather as a cognitive construct that emerges through the abstraction of image beyond the boundaries of the real, forming a correlation between realities that resists causal reduction, and in this first phase, desire is abstracted not to represent reality but to escape the epistemological trap of translating abstract concepts into fixed material structures, thereby allowing the mind to engage in symbolic inference rather than empirical mapping; then, in the second phase, the scope for revealing desire is shaped by omitting the actual dimensionality of the abstract concept and rendering it as a shaded echo of the original image, while the object is aesthetically encoded with culturally resonant colors to grant it symbolic legitimacy, and this process of visual obscuration—where clouds and shaded light fragment the aesthetic structure—mirrors the brain’s tendency to process desire through layered symbolic filters and perceptual ambiguity, thus enabling the cognitive system to hold multiple meanings within a single image; in the third phase, the subject who paints abstraction becomes the agent of symbolic realization, translating unconscious desire into a conscious phenomenon through repeated visual gestures, where line and color are cognitively formed but not consciously controlled, and this recursive loop between unconscious structure and conscious image reflects the mind’s capacity to externalize latent drives through symbolic behavior without direct awareness, thereby demonstrating that desire is not merely felt but cognitively enacted; and finally, in the fourth phase, the abstracted concept of desire becomes a fragment of reality refracted through reversible light and shadow, where the object is no longer directly visible but concealed and reconstituted as a visual echo, and this transformation—achieved through the planar movement of monochromatic painting carved into the surface of perception—reveals how the mind integrates spatial abstraction and symbolic light into a recursive system of emotional logic, ultimately showing that desire, in Choi’s framework, is not a static emotion but a dynamic cognitive architecture that oscillates between absence and presence, image and structure, unconscious repetition and symbolic realization.
■ 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.
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.
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.
Here is a refined academic-style interpretation of your concept, written in English from the perspective of a distinguished cognitive scientist with psychoanalytic insight:
The Design Results of Choi Chul-joo's Desire Abstract Concept
A Cognitive-Psychoanalytic Interpretation of Linguistic Meaning and Subject Formation
In Choi Chul-joo’s abstract design of desire, the linguistic outcome reveals a complex interplay between passivity and agency, where the object fixated on the desire of the Other remains passive in structure, yet the emergence of the sympathizer—who internalizes and mirrors the Other’s desire—transforms the dynamic into one of active execution. This transformation occurs through a recursive identification, wherein the sympathizer becomes not merely a reflective surface but a new subject of desire, capable of enacting the same drive. The subject who accepts or resonates with the Other’s desire does not remain external to it but becomes structurally embedded within it, thereby forming a second-order subjectivity that executes desire as if it were their own.
This recursive mirroring leads to a symbolic generalization, where the sympathizer attempts to universalize the Other’s desire, positioning it as a victorious force—akin to a conqueror who reclaims desire as a public object. However, when this generalization fails—particularly when desire, refracted through reversible light and symbolic shadow, resists becoming a publicly shared act—the structure collapses into antagonism. The subject of inappropriate or misaligned desire and the sympathizer, once aligned through shared affect, now oppose the original subject who enacted desire according to the generalized will of the Other.
From a psychoanalytic perspective, this dynamic reflects Lacan’s theory of the subject as constituted through the desire of the Other, and Freud’s notion of identification and transference, where unconscious drives are projected, mirrored, and contested within relational structures. Cognitively, Choi’s design reveals how desire is not a solitary impulse but a socially and symbolically mediated architecture, where subjectivity is formed, fractured, and reconstituted through linguistic abstraction, visual metaphor, and recursive identification.
■ 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.
Choi Chul-joo’s Concept of Desire Formula: Mathematical Desire and the Image of Reality, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.
Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and linguistic meaning.
■ 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 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).
Here is a refined and cohesive academic-style interpretation of your concept, written in English from the perspective of a cognitive scientist with psychoanalytic insight: Choi Chul-joo’s application of the desire formula D(I...I')d=I(D...D')i to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.
� Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System
Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:
D: The archetype of desire, representing the foundational lack or drive.
I...I': A sequence of visual representations through which desire is projected.
d: The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.
I: The emergent image of desire, a perceptual unit.
D...D': The recursive layers of desire, reflecting its multiplicity and transformation.
i: The conceptual resolution of desire, the cognitive abstraction of the image.
This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.
� Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop
From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient
� reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (D).
This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.
Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—
Choi Chul-joo’s desire formula D(I...I')d=I(D...D')i an be visualized as a dynamic vector field, where each component represents a transformation in the structure of desire:
Left-hand side D(I...I')d: Desire D is activated by a sequence of images I...I', forming a directional vector across perceptual space. The coefficient d scales this vector, representing unconscious forces, cultural pressure, and social visibility. This side models the generation vector, where desire emerges from visual stimuli and is modulated by internal dynamics.
Right-hand side I(D...D')i: Recursive structures of desire D...D'′ are transformed into a singular image I, which is cognitively resolved into a conceptual value i. This side models the resolution vector, where abstract desire is re-rendered into perceptual form and interpreted semantically.
Transformation Arrows: Arrows between both sides represent recursive feedback loops, showing how desire oscillates between abstraction and realization.
The entire graph behaves as a fixed-point system, where desire continuously loops through image, structure, and meaning.
� Cognitive Psychologist’s Perspective: Desire as Symbolic Simulation
This is the moment of symbolic closure, where desire becomes intelligible.
This graph reveals that desire is not a linear impulse but a recursive cognitive algorithm, where the mind loops through symbolic abstraction, perceptual encoding, and conceptual resolution. The object—whether a pop art image, a shaded metaphor, or a reflective pond—functions as a recursive node in this system, simulating the architecture of desire through visual recursion and symbolic feedback.
5. 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.
6. The Design Results of Choi Chul-joo's Desire Abstract Concept, Choi Chul-joo’s abstract concept of desire through the psychoanalytic frameworks of Jacques Lacan and Sigmund Freud. Choi’s design reveals how desire is not a solitary impulse but a relational and recursive structure, shaped by identification, symbolic generalization, and unconscious antagonism. Through the lens of Lacanian subjectivity and Freudian transference, we examine how the sympathizer becomes a secondary subject of desire, how desire is refracted through reversible light, and how conflict emerges when symbolic generalization fails.
Introduction: Desire as a Relational Structure: Choi Chul-joo’s abstract concept of desire challenges the notion of desire as a private, internal drive. Instead, it is presented as a relational construct, emerging through the interaction between the subject, the Other, and the sympathizer. This triadic structure reflects Lacan’s theory that desire is always the desire of the Other, and Freud’s view that identification and transference are central to the formation of subjectivity. Although the object of desire remains passive, the sympathizer—who internalizes and mirrors the Other’s desire—transforms into an active subject capable of executing the same desire. This process of identification aligns with Freud’s theory of ego formation through the internalization of external drives, and with Lacan’s notion that the subject is constituted through the gaze and desire of the Other. The sympathizer does not merely reflect but enacts, becoming a second-order subject of desire. The sympathizer attempts to generalize the Other’s desire, positioning it as a universal or victorious act—akin to a conqueror who reclaims desire as a public object. This symbolic generalization reflects Lacan’s concept of the Imaginary, where the subject misrecognizes itself in the mirror of the Other’s desire, and Freud’s idea of sublimation, where unconscious drives are elevated into socially acceptable forms. However, this generalization is fragile and contingent. When desire, refracted through reversible light and symbolic shadow, fails to become a publicly shared act, the structure collapses. The subject of inappropriate or misaligned desire and the sympathizer—once aligned—now antagonize the original subject who enacted desire according to the generalized will of the Other. This breakdown mirrors Freud’s theory of repression and resistance, and Lacan’s Real, which resists symbolization and disrupts the symbolic order.
Choi Chul-joo’s design results reveal that desire is not a fixed entity but a recursive psycho-social system, shaped by identification, symbolic mediation, and unconscious conflict. Through Lacanian and Freudian lenses, we see that the sympathizer’s transformation into a subject, the attempt to generalize desire, and the eventual collapse into antagonism reflect the complex architecture of human desire—an architecture that Choi renders visible through abstract conceptual design.
7. Applying Choi Chul-joo’s conceptual abstract realism design methodology to the visualization of desire in Louis Choi Chul-joo’s Morning Glory, at the initial stage of existential conceptual abstraction, the realistic elements of the morning glory are abstracted into a conceptual object that embodies desire, where this abstraction functions not merely as a visual reproduction but as a cognitive apparatus translating the inherent lack of desire into a perceivable visual structure, allowing the viewer to recognize the recursive interplay between the object of desire and the symbolic structures that govern it; in the subsequent stage of sketching and structural composition, the dynamic images of the morning glory are linked to the abstract background through reversible light and segmented temporality, generating a visual grammar in which the phenomenological movement of the image interacts with the static abstraction of the background, thereby extending linguistic meaning into visual form and revealing the unconscious mechanisms through which desire is produced, mediated, and repeated; following this, at the stage of desire formalization, the formula D(I…I’)d = I(D…D’)i is applied so that the morning glory simultaneously functions as object, image, and conceptual abstraction, where the sequential arrangement of repeated visual instances reflects the recursive structure of desire and the dynamic coefficient (d) modulates perceptual and symbolic forces, transforming desire into a visualized abstraction that positions the floating flower in the sky as a nodal point for cognitive recognition and psychoanalytic reflection; in the conceptual interpretation stage, these recursive visual patterns consolidate into a singular conceptual desire image (i), establishing dynamic interactions between image, structure, and meaning, while the linguistic-semantic integration stage ensures that the abstract realism image conveys philosophical, psychoanalytic, and aesthetic significance simultaneously, realizing both the existential reality of the object and the symbolic mediation of desire, with the viewer’s gaze incorporated through reflection, inversion, and recursive feedback loops; finally, at the stage of full realization of conceptual abstract realism, all phases converge to unify dynamic images, abstract structures, and desire-laden backgrounds into a coherent visual grammar, producing an image that embodies perceptual, symbolic, and conceptual properties simultaneously, thereby demonstrating the methodological rigor of Choi Chul-joo and transforming the desire depicted in Morning Glory into a visual language extended across image, abstraction, and spatiotemporal structure, achieving a recursive, relational, and cognitive resonance that manifests the philosophical and aesthetic dimensions of contemporary conceptual abstract realism.
Louis Choi Chul-joo’s Morning Glory (poster; morning glory and fish-Mona Lisa design) operates not as a representational depiction of reality but as a cognitive visual apparatus that transforms the visualization of absence into a site for the philosophical contemplation of desire, wherein abstraction functions not as a formal negation but as an epistemological structure that converts the disjunction between language and image into the generative principle of desire; in this work, where language fails to stabilize meaning, the image intervenes as the substitute for that linguistic insufficiency, visually articulating the movement of desire through its compositional grammar—through chromatic contrast, reflective inversions, and spatial ruptures—thus extending the semantic field of language into a visual syntax that materializes cognition; the inverted human figure mirrored beneath the pond, the symbolic red stems, and the deep blue spatial abyss together construct a field in which the absence of the Real does not signify emptiness but instead becomes the very motor of desire, producing what may be called a substitutive realism, a mode in which abstraction replaces the absent Real and, paradoxically, reveals its cognitive structure more profoundly than direct representation could; within this process, language’s failure to fix meaning is transfigured into an event of vision, wherein the spectator, recognizing simultaneously the negation of the linguistic and the reflection of the visual, experiences perception not as mere sensory reception but as a philosophical event operating within the cognitive structure of lack; thus, Morning Glory realizes Choi’s concept of reversible illumination, in which language and image illuminate one another reciprocally, generating meaning through their mutual reflections, while this continual slippage and rotation of meaning around the axis of absence constitutes a visual grammar of desire that transforms the absence of the Real into a cognitive syntax of symbolic production; consequently, abstraction here extends beyond the denial of representation to become a philosophical device for the contemplation of lack, providing empirical validation for Choi’s Art Theory of the Structure of Desire and demonstrating that art does not mirror the Real but instead reflects the structure of its absence, reconstructing perceptual reality through the visual logic of desire; ultimately, Morning Glory stands as an exemplary philosophical construct in which linguistic meaning expands into visual form, showing that abstraction can serve as a medium of cognitive realism wherein the image substitutes for the Real and allows the subject to think, rather than merely to see, through the aesthetic experience of desire and lack.
8. “The Visual Grammar of Desire and the Image-Expansion of Linguistic Meaning in Louis Choi Chuljoo’s Morning Glory”: Louis Choi Chuljoo’s Morning Glory (2025-1: Pond Rendering Reflects Current Desire) operates not as a representational depiction of reality but as a cognitive visual apparatus that transforms the visualization of absence into a site for the philosophical contemplation of desire, wherein abstraction functions not as a formal negation but as an epistemological structure that converts the disjunction between language and image into the generative principle of desire; in this work, where language fails to stabilize meaning, the image intervenes as the substitute for that linguistic insufficiency, visually articulating the movement of desire through its compositional grammar—through chromatic contrast, reflective inversions, and spatial ruptures—thus extending the semantic field of language into a visual syntax that materializes cognition; the inverted human figure mirrored beneath the pond, the symbolic red stems, and the deep blue spatial abyss together construct a field in which the absence of the Real does not signify emptiness but instead becomes the very motor of desire, producing what may be called a substitutive realism, a mode in which abstraction replaces the absent Real and, paradoxically, reveals its cognitive structure more profoundly than direct representation could; within this process, language’s failure to fix meaning is transfigured into an event of vision, wherein the spectator, recognizing simultaneously the negation of the linguistic and the reflection of the visual, experiences perception not as mere sensory reception but as a philosophical event operating within the cognitive structure of lack; thus, Morning Glory realizes Choi’s concept of reversible illumination, in which language and image illuminate one another reciprocally, generating meaning through their mutual reflections, while this continual slippage and rotation of meaning around the axis of absence constitutes a visual grammar of desire that transforms the absence of the Real into a cognitive syntax of symbolic production; consequently, abstraction here extends beyond the denial of representation to become a philosophical device for the contemplation of lack, providing empirical validation for Choi’s Art Theory of the Structure of Desire and demonstrating that art does not mirror the Real but instead reflects the structure of its absence, reconstructing perceptual reality through the visual logic of desire; ultimately, Morning Glory stands as an exemplary philosophical construct in which linguistic meaning expands into visual form, showing that abstraction can serve as a medium of cognitive realism wherein the image substitutes for the Real and allows the subject to think, rather than merely to see, through the aesthetic experience of desire and lack.
■ 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."
현대 포스터 추상화 뉴욕 전시 작품: Background image of an artist's artwork: Louis Chul-joo Choi, morning glory p55, a hand-painted picture on a computer
