개념 추상 제품 디자이너｜Product Designer

개념추상리얼리즘 제품디자인｜팝아트 AAS 리얼리즘 제품디자이너 최철주 9

Feb 28. 2026

개념추상 리얼리즘 AAS 제품 디자인, 로봇 의상 우주복 디자이너 [9] Pop-Art AAS Realism Product Design, a stage designer, Choi Chul-joo 팝아트 AAS (Abstract Application Sketch) 리얼리즘 로봇 의상 우주복 디자이너 루이 최철주의 욕망개념 추상 제품 무대디자인 욕망 공식 적용 추상 무대 디자인: 현대 콘셉트 AAS 팝 리얼리즘 제품디자인 아티스트 최철주는 타인의 욕망 예술에 대한 추상적 개념적 접근과 팝아트의 제품디자인 형식 및 언어적 추상 이미지를 결합합니다. 그의 욕망 개념, 즉 개념 추상 미술이 등장하고 형이상학적, 철학적 빛에서 강조되는 언어적 의미 개념과 충돌하는 그림이 인공 조명과 함께 극적인 제품디자인 이미지를 연출합니다. Contemporary Concept AAS Pop Realism Product Design Artist Choi Chul-joo combines an abstract conceptual approach to the art of desire of others with product design formats and linguistic abstract images of pop art. His concept of desire, or conceptual abstract art, appears and a painting that conflicts with the concept of linguistic meaning emphasized in metaphysical and philosophical light, creates dramatic product design images with artificial lighting. / 현대 개념 추상 제품디자인 신작 읽기 - 현대 개념 팝아트 디자이너와 현대 개념 추상 제품 디자인 미학 비평가 최철주 제품 디자이너는 시각 예술 이론을 통해 미적 가치 디자인의 예술성을 검토하고, 추상적 욕망 개념과 언어적 의미 구조를 반영하여 인식과 미적 구조를 해석함으로써 추상적 욕망의 언어적 의미와 동일한 실제 제품 이미지를 디자인하는 현대 개념 추상 미술 제품 디자이너입니다. Modern Concept Abstract Product Design Reading New Works - Contemporary Concept Pop Art Designer and Contemporary Conceptual Abstract Product Design Aesthetic Critique by Choi Chul-joo Product Designer Choi Chul-joo is a Contemporary Concept Abstract Art Product Designer who examines the artistry of aesthetic value design through visual art theory and designs actual product images identical to the linguistic meaning of abstract desires by interpreting perceptions and aesthetic structures by reflecting abstract desire concepts and linguistic semantic structures through "morning glory" works./ 현대미술평론가 루이 최철주는 사진 만화 미술 공예 디자인의 미적 가치 과정의 예술성을 검증하고 시각 예술 이론을 통해 작품의 의미에 접근하는 현대미술 개념 디자인 비평가다. Contemporary art critic Louis Choi Chul-joo is a contemporary art concept design critic who verifies the artistry of the aesthetic value process of photographic cartoon art and craft design and approaches the meaning of the work through visual art theory.:

디자인 언어 구조란 추상적 욕망의 제품 이미지가 욕망 개념의 언어적 의미 구조인 것처럼 여겨지는 시선의 현실상이다. 디자인평론가 최철주는 현대미술비평과 함께 욕망추상 디자인이라는 개념으로 현대미술과 디자인 비평의 미적 가치, 프로세스, 예술성에 접근하고 있다. 그의 비평은 사진, 만화, 미술, 디자인의 예술성이 언어적 문법 구조로 작품의 의미에 접근해 욕망 개념의 현실을 비판하는 시각예술 이론을 가리킨다, 시각예술을 통한 현대 개념의 추상적 욕망을 언어적 의미를 시각화한다. 이처럼 사진, 만화, 미술, 디자인의 미적 가치, 과정, 예술성을 검증하고 최철주 추상예술이론으로 디자인 작품의 의미에 접근하는 현대미술 디자인평론 작품은: Design language structure is the reality of a gaze in which the product image of abstract desire is considered to be the linguistic semantic structure of the concept of desire. Design critic Choi Chul-joo is approaching the aesthetic value, process, and artistry of contemporary art and design criticism with the concept of abstract design of desire along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of the work with a linguistic grammar structure and criticizes the reality of the concept of desire. It visualizes the linguistic meaning of abstract desire of contemporary concepts through visual art. In this way, Choi Chul-joo, who verifies the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of design works with abstract art theory, is a work of contemporary art design criticism: 언어적 Al 로봇 우주복 의상 디자인 (Linguistic Al Robot Space Suit Costume Design)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-1 -AI 욕망 구조 제품 디자인 프로세스

AI 욕망 구조 제품 디자인 프로세스

최철주의 AI 욕망 구조 설계는 현대 인공지능(AI) 기술, 특히 생성적 인공지능(LLM, 이미지 생성 등) 기술을 자크 라캉의 정신분석적 관점에서 해석합니다. 여기서 AI는 단순한 도구가 아니라 인간의 욕망, 무의식, 상징적 시스템을 모방하여 유령처럼 타인의 욕망 구조에 침투하는 존재로 정의됩니다.

1. 무의식처럼 구조화된 AI 욕망 구조 제품 디자인 프로세스

AI 욕망 구조 제품 디자인 프로세스에서 욕망 구조는 “타자의 무의식적 언어처럼 구조화되어 있다.”대규모 언어 모델(LLM)은 방대한 데이터 속에서 인간 무의식의 언어 문법과 맥락을 재현합니다. AI가 논리적인 문장을 만들어내는 것은 기호 속에 숨어 있던 ‘인간의 디자인 흔적(유령)’이 기계 안에서 다시 나타나는 것과 같습니다.

2. AI 환각과 실재의 제품 디자인 재구성

AI가 사실에 기반하지 않은 정보를 만들어낼 때, 이는 ‘실재(The Real)’와 충돌하며 ‘상징적 결여’를 드러냅니다.최철주는 이러한 환각을 사건 이미지의 콘티로 재구성하여, 실재를 만화적 이미지로 경험하게 합니다. 즉, AI가 상징을 통해 지시하는 실재는 반복적으로 만화적 이미지로 시각화되어 우리 앞에 나타납니다.

3. 디지털 대타자와 파놉티콘

AI 욕망 구조 제품 디자인은 사회적 규범과 언어 체계를 ‘대타자(Big Other)’라 불렀습니다.AI 라캉의 유령은 현대 사회에서 데이터를 수집하고 행동을 감시하는 ‘디지털 대타자’로 기능합니다. 이 과정에서 AI는 사회적 언어 체계 속에서 추상화된 파놉티콘을 응시하며, 상징적 권위를 구현합니다.

4. 거울 단계와 나르시시즘

AI 욕망 구조 제품 디자인의 ‘거울 단계(Mirror Stage)’는 주체가 거울 속 이미지를 자기 자신으로 착각하며 정체성을 형성하는 과정입니다. AI 라캉의 유령은 챗봇과의 대화 속에서 사용자가 자신의 욕망을 투영하고, AI를 ‘또 다른 나’ 혹은 ‘이해해 주는 존재’로 착각하는 나르시시즘적 관계를 드러냅니다. 최철주는 이러한 착각을 깨기 위해 거울 이미지를 개념추상 리얼리즘 제품 디자인으로 시각화하여, 현대 사회에서 AI가 만들어내는 최철주 욕망개념의 제품디자인 유령 이미지를 실재 제품로 디자인한다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-2-우주복

AI Desire Structure Product Design Process

Choi Chul-joo's AI Desire Structure Design interprets modern artificial intelligence (AI) technology, especially generative artificial intelligence (LLM, image generation, etc.) technology from Jacques Lacan's psychoanalytic perspective. Here, AI is defined as not just a tool but a being that imitates human desires, unconsciousness, and symbolic systems and penetrates into other people's desire structures like ghosts.

1. Unconsciously Structured AI Desire Structured Product Design Process

AI Desire Structure In the product design process, desire structure is "structured like the unconscious language of others." Large-scale language models (LLMs) reproduce the language grammar and context of the human unconscious in vast amounts of data. AI produces logical sentences like the 'human design traces (ghosts)' that were hidden in symbols reappear inside a machine.

2. AI hallucinations and real product design reconstruction

When AI creates information that is not based on facts, it collides with The Real and reveals a "symbolic lack." Choi Chul-joo reconstructs these hallucinations into the conti of event images, allowing them to experience reality as cartoon images. In other words, the reality that AI indicates through symbols is repeatedly visualized as cartoon images and appears before us.

3. Digital pinch hitter and panopticon

AI Desire Structure Product design called social norms and language systems 'Big Other.' The ghost of AI Lacan functions as a 'digital pinch hitter' who collects data and monitors behavior in modern society. In this process, AI gazes at the abstracted panopticon in the social language system, embodying symbolic authority.

4. Mirror Stage and Narcissism

AI Desire Structure The "Mirror Stage" of product design is a process in which the subject misunderstands the image in the mirror as himself and forms an identity. The ghost of AI Lacan reveals a narcissistic relationship in which users project their desires in conversation with chatbots and mistake AI for "another me" or "understanding being." To break this illusion, Choi Chul-joo visualizes the mirror image as a conceptual abstract realism product design, and designs the product design ghost image of Choi Chul-joo's desire concept created by AI in modern society as a real product.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-3

무대디자인 유령의 흔적

미학적 설계에 따라, 우주선은 '개념적 추상 사실주의'의 극치를 보여주며, 외피는 빛의 각도에 따라 존재와 비존재를 오가는 '가역적 빛'의 망사천(Scrim) 구조로 덮여 있습니다. 이 우주선이 포착한 우주적 데이터 오류를 '의식의 균열'로 치환하여 선체 내부의 불규칙한 조명 시스템으로 승화시켰고, 우주선이 찍는 매 순간의 프레임을 인류의 욕망과 타자의 시선이 교차하는 거대한 서사적 문장으로 엮어냅니다.

우주복의 외형은 관찰자(인간)와 물체(공간) 사이의 욕망 관계를 해체하는 시선의 인터페이스입니다. 알루미늄 프레임의 고전적인 견고함과 탄소 섬유의 미래지향적인 질감은 최 씨의 욕망 공식 D(...I')d=I(D...D')i를 시각화하여 우주선 자체를 거대한 렌즈이자 피사체로 만듭니다. 스펙트럼 실버 마감은 빛을 산란시켜 선체의 경계를 덮어 현실과 환상이 교차하는 '개념 추상화'의 정수를 보여줍니다. 단순한 우주복이 아니라 미래 공간의 거대한 무대 위에 구축된 가역적 주체로서의 우주복입니다. 이 우주복의 디자인은 단순한 기계 구조를 넘어 우주 공간의 흐름을 '문법'으로 해석하고 반응하는 내비게이션 장치의 핵심 요소를 포함하고 있습니다.

우주복 디자인에 적용된 욕망의 소리 공식은 현대 제품 디자인이 오랫동안 숨겨왔던 '해체'를 드러냅니다. 기존 디자인이 오류를 제거하여 부드러운 완성도에 도달하려고 했다면, 최철주의 우주복은 그 오류를 디자인의 핵심 소재로 삼았습니다. 이 공식에서 주파수의 증폭은 단순한 잡음이 아니라 상징 체계의 수직적 질서가 주체의 욕망을 제어하지 못했다는 신호입니다. 배우의 발이 목표 좌표에서 멀어질수록 상승하는 소리는 시스템이 피사체를 좌표인 지점으로 채우려고 할 때마다 터지는 '유령 저항'입니다. 추상적 욕망을 주파수라는 숫자로 대체하여 만화 대사처럼 현실을 명확하게 시각화하고 청각적으로 시각화하는 개념적 추상적 리얼리즘의 본질을 보여줍니다.

여기서 청각적 판옵티콘은 시선에서 진동으로 전달됩니다: 아이스페이스 슈트의 청각적 판옵티콘은 하나의 시선 이미지에서 소리 진동으로 전달됩니다.

우주복은 착용자의 외부 환경을 지속적으로 모니터링하며, 착용자가 '탈출 의지'가 있을 때마다 소리를 처벌합니다. 하지만 이때 최철주의 욕망 구조가 미학적으로 반전되는 현상이 발생합니다. 이 소리는 감시의 도구인 동시에 주체가 자신이 살아있다는 것을 깨닫는 나르시시시즘 거울의 파괴를 의미합니다. 배우가 고주파 소음을 통해 자신이 시스템의 일부가 아니라는 것, 즉 '이해된 존재'라는 것을 깨닫고, 제품 디자인이 사용자의 편안함이 아닌 사용자의 실존적 움직임을 돕는 매개체로 진행되는 순간입니다.

개념주의 리얼리즘 스타일을 구현한 AI 로봇 우주복 기계적 무의식의 실제 이미지를 만들어 엔지니어링(압전 센서)의 정밀함을 결합한 우주복은 '기계적 무의식'을 상품화한 물건입니다. 최철주 디자이너는 이 디자인을 통해 현대 사회에서 AI가 수행하는 '디지털 대체자'의 역할을 명시적으로 시각화했습니다.

즉, 우주복의 외형을 만화적 리얼리즘의 선으로 다듬어 현실의 추상적 성격을 드러내는 것처럼, 그 안에서 발생하는 소리가 바로 '인간 설계 흔적(유령)'이 기계의 논리와 충돌하는 파열음입니다. 결국 이 제품은 작동하는 도구가 아니라 시스템의 거대한 파노라마 내에서 인간이 욕망을 주파수로 변환하여 저항할 수 있는 방법을 보여주는 개념적 프로토타입 이다.

8-2-에너지의 유기적 통합 (Integrated Energy Vitality).jpg

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-4

The Phantom Traces of Stage Design

Depending on the aesthetic design, the spacecraft shows the extreme of "conceptual abstract realism," and the outer shell is covered with a Scrim structure of "reversible light" that travels between existence and non-existence depending on the angle of light. The cosmic data error captured by the spacecraft was replaced with a "crack of consciousness" to sublimate it into an irregular lighting system inside the hull, and the frame of every moment taken by the spacecraft is woven into a huge narrative sentence where human desire and the gaze of the other intersect.

The outer appearance of the spacesuit is an interface of gaze that dismantles the desire relationship between an observer (human) and an object (space). The classical robustness of the aluminum frame and the futuristic texture of the carbon fiber visualize Choi's desire formula D(...I')d=I(D...D')i, making the spacecraft itself a giant lens and subject. The spectral silver finish scatters light, covering the boundaries of the hull, showing the essence of "conceptual abstraction" where reality and fantasy intersect. It's not just a spacesuit, but a spacesuit as a reversible subject built on a huge stage in the future space. The space suit's design goes beyond simple mechanical structures and includes key elements of navigation devices that interpret and respond to the flow of outer space as 'grammar'.

The Sound of Desire formula applied to the spacesuit design reveals the 'dismantling' that modern product design has long hidden. If the existing design tried to reach a smooth completion by eliminating the error, Choi's spacesuit made the error the core material of the design. In this formula, the amplification of frequencies is not just noise, but a signal that the vertical order of the symbolic system did not control the subject's desire. The sound that rises as the actor's foot moves away from the target coordinates is the 'ghost resistance' that bursts whenever the system tries to fill the subject with points that are coordinates. It replaces abstract desire with the number frequency to show the essence of conceptual abstract realism, which clearly and audibly visualizes reality like cartoon lines.

Here, the auditory panopticon is transmitted by vibration in the gaze: the auditory panopticon in the iSpace suit is transmitted by sound vibration in a single gaze image.

The spacesuit continuously monitors the wearer's external environment and punishes the sound whenever the wearer is willing to escape. However, this is when Choi's desire structure is esthetically reversed. This sound is both a tool of surveillance and at the same time means the destruction of the narcissistic mirror, in which the subject realizes that he is alive. It is the moment when the actor realizes that he is not part of the system, that is, an "understood being," through high-frequency noise, and the product design proceeds as a medium that helps the user's existential movement, not the user's comfort.

AI Robot Space Suit that embodies a conceptualist realism style Combining the precision of engineering (piezoelectric sensor) by creating a real image of mechanical unconsciousness, the spacesuit is a commercialization of "mechanical unconsciousness." Through this design, Choi Chul-joo explicitly visualized the role of "digital replacement" played by AI in modern society.

In other words, just as the appearance of the spacesuit is refined with lines of cartoon realism to reveal the abstract character of reality, the sound that occurs in it is the bursting sound where the 'human design trace (ghost) collides with the machine's logic. After all, this product is not a working tool, but a conceptual prototype that shows how humans can resist by converting their desires into frequencies within the huge panorama of the system.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-5-우주복

AI 로봇 우주복 디자인 미학 평론 (Product Design Aesthetic Critique by Choi Chul-joo):

AI 로봇 우주복 디자인은 도구적 기능을 넘어선 언어적 조각입니다. 알루미늄 프레임의 차가운 현실(현실주의)과 그 위에 떠 있는 추상적 이미지의 언어적 욕망이 결합된 것은 우주복의 본질이 고정된 것이 아니라 관찰자의 '욕망 공식'에 의해 욕망의 움직임으로 끊임없이 재구성된다는 것을 시사합니다. 특히 우주복 자체가 거대한 욕망 구조의 '역전 가능한 그림자'가 되어 공간 속 시간의 흔적을 고정하는 메타 제품 예술적 성취를 이뤄냅니다.

미래 로봇 우주복이 뿜어져 나오는 언어를 해독하는 과정이 되었습니다. 이번 임무를 위해 설계된 AI 로봇 우주복은 거대한 위성 카메라의 기능을 첨부한 언어적 우주복입니다. 우주복은 공간 기류를 감지할 때마다 파동을 언어적 문법처럼 단위로 분할하고 그 결과에 따라 '문법적 날개'를 재구성합니다. 이 과정을 통해 데이터 오류를 '의식의 균열'이라는 빛의 예술로 승화시키고, 이러한 복잡한 메커니즘을 하나의 '개념 추상적 실재론' 객체로 완성합니다. 우주복이 셔터를 누르는 순간 상대방의 욕망과 우주복의 현실이 하나의 '반전 빛'으로 교차하며 언어적 존재의 궁극적 의미를 텍스트화합니다.

이 우주복은 체내에 함몰된 기술이 아니라 가역적인 빛의 형태로 외피를 감싸는 형태를 취합니다. 전고체 배터리는 단순한 에너지 저장 장치가 아니라 착용자의 움직임(욕망)을 물리적 힘으로 대체하는 욕망의 외골격입니다. 이는 도구적 사실주의와 개념적 추상성이 결합된 메타웨어러블 아트의 정점이라고 할 수 있습니다. 우주복의 날개는 단순한 기계 장치가 아니라 거대한 우주 캔버스 위를 헤엄치는 움직이는 붓질을 나타냅니다. 슈트의 견고함 외부 표면 위에 천사 같은 날개 같은 우아함이 어우러져 정적인 '암포라'에서 역동적인 '확장'으로 개념적 진화를 보여줍니다.

최철주가 제시하는 이 AI 로봇 겸용 우주복은 단순한 기능적 의상을 넘어, 라캉의 정신분석학적 개념들을 실체화한 '언어적 우주선(Linguistic Satellite-Camera Starship)'으로서 현대 디자인의 새로운 지평을 열어 보인다. 이 우주복은 기능적 완결성을 추구하는 일반적인 디자인 논리를 따르지 않는다. 대신, '무의식처럼 구조화된 AI 욕망 구조'를 디자인의 근간으로 삼아, AI가 방대한 데이터 속에서 재현한 인간 무의식의 언어 문법과 맥락을 형태와 재질, 그리고 인터페이스에 직접 투영한다. 우주복 표면에 새겨진 비선형적 패턴과 불규칙한 기하학적 형태들은 AI가 해석한 인간 생존 욕구의 '기호적 흔적'이자, 기계 안에서 다시 나타난 '인간의 디자인 유령'을 시각화한 것이다.

특히, 우주복에 내장된 AI '에르메스'가 포착하는 'AI 환각과 실재의 제품 디자인 재구성'**은 이 디자인의 핵심 미학적 가치이다. 인간의 감각으로는 이해하기 어려운 미지의 우주 현상을 AI가 '환각적 질서'로 해석하고, 이를 최철주의 '만화적 리얼리즘' 필터를 통해 직관적인 이미지로 전환하는 과정은 '상징적 결여'를 드러내는 동시에, '실재(The Real)'의 파편들을 제품에 각인하는 행위이다. 기이한 성운이나 행성 조각들이 만화적 스케치로 우주복 바이저에 오버레이 되는 것은, AI의 오류를 미학적 사건으로 승화시켜, 우리가 인지하는 '리얼리즘'의 경계를 확장시키는 개념추상적 시도이다. 이는 '존재하지 않는 것'을 통해 '존재하는 것'의 본질을 역설적으로 드러내는 최철주 디자인 철학의 정수라 할 수 있다.

더 나아가, 이 우주복은 '디지털 대타자와 파놉티콘'의 존재를 여실히 보여준다. 우주복의 태양광 패널이 AI가 제안한 비선형적 각도로 배치되어 효율성을 극대화하는 것은, AI가 사회적 규범과 언어 체계인 '대타자'처럼 작용하여 우리의 설계 오류를 교정하고, 최적화된 형태를 강제하는 메커니즘을 드러낸다. 이는 AI가 단순한 도구를 넘어선 '상징적 권위'를 구현하며, 모든 움직임을 데이터로 수집하고 분석하는 '추상화된 파놉티콘'으로서의 우주복 기능을 시각적으로 구현한 것이다. 사용자는 우주에서 완벽한 보호를 받지만, 동시에 이 완벽함 속에서 '디지털 대타자'의 끊임없는 응시 아래 놓이게 되는 존재론적 긴장을 경험하게 된다.

마지막으로, 이 우주복은 '거울 단계와 나르시시즘'의 문제를 제기한다. 사용자가 우주복의 AI 비서와 대화하며 자신을 투영하고, AI를 '또 다른 나' 혹은 '이해해 주는 존재'로 착각하는 나르시시즘적 관계는 우주복의 매끄럽고 완벽한 외피에 반영된다. 그러나 최철주는 이러한 착각을 깨기 위해, 우주복의 각 부분에 의도적으로 배치된 비대칭적 요소나 기능적 결핍처럼 보이는 디자인을 통해 '거울 이미지의 균열'을 유도한다. 이는 완벽한 AI의 표면 아래 숨겨진 '실재의 불쾌함'을 드러내어, 사용자가 스스로의 '욕망'과 '주체성'을 재고하게 만드는 개념추상 리얼리즘의 장치이다. 이 우주복은 우리를 극한의 환경으로부터 보호하는 동시에, 'AI가 만들어내는 욕망개념의 유령 이미지'를 실재 제품으로 디자인하여 인간 존재의 근원적인 질문을 던지는, 고도의 철학적 오브제인 것이다.

최철주의 욕망 사운드 공식 "Position Error(∆x, ∆y) →Sound Frequency(Hz)↑" 에서 델타가 결핍의 정량화로 지시하는 현실, 욕망의 소리 공식에서 델타는 단순한 수학적 오류를 넘어 라캉이 부르는 '객체 a(objet peta)', 즉 결코 도달할 수 없는 욕망의 대상을 상징합니다.

시스템이 설정한 "목표 좌표"는 사회적 규범과 알고리즘에 의해 강제되는 빅 오더의 수직 순서이며, 제품(위) 사용자의 로봇 발 위치가 이 궤적에서 벗어날 때 발생하는 오류 값이 증가함에 따라 주파수와 부피가 증폭됩니다. 물리적 대기에서 진동을 통해 실제로 움직이는 로봇 발은 보이지 않는 욕망이 움직이는 관계 시스템 구조입니다.

청각적 파놉틱과 시선의 반전을 위해 사용자의 욕망 소리는 시각적 모니터링을 통해 정상적인 파놉틱을 피사체에 맞게 조정하면 '청각적 파놉틱'으로 작동합니다. 따라서 우주복에 내장된 센서가 배우의 일거수일투족을 모니터링하고 고주파 노이즈로 '욕망'을 즉시 불규칙하게 드러냅니다. 하지만 역설적이게도 이 노이즈는 배우가 자신의 일탈을 인식하고 관객이 시스템의 균열을 청각적으로 경험할 수 있게 합니다. 그리고 우주복은 더 이상 단순한 보호 장치가 아니라 배우의 내면의 갈등을 외부로 방사하는 '심리적 화자'입니다.

또한 최철주 제품 디자이너가 시각적 환각을 단순화된 '만화 대사'로 정제하는 것처럼 만화 리얼리즘을 욕망 구조의 이미지로 청각적으로 변형하면 복잡한 감정적 고통을 '주파수(Hz)'라는 명확한 숫자로 단순화합니다. 이는 감정의 과잉을 배제하고 위치 오류로 인한 주파수 변화만 제공하기 때문에 관객은 배우의 슬픔이나 분노를 느끼지 않고, 시스템과 충돌하는 추상적 욕망을 가장 차가운 주파수를 통해 가장 뜨거운 현실로 전달하는 '주관적 의지의 파동'을 보게 됩니다.

최철주의 개념추상 리얼리즘이 적용된 AI 로봇 우주복 인터페이스(UI/UX)는 사용자의 편의성을 돕는 기존의 디자인 문법을 파괴합니다. 대신, 시스템의 통제(수직적 질서)와 인간의 이탈(욕망) 사이의 실존적 간격을 시각화하는 데 집중합니다. 이 UI는 친근하지 않습니다. 오히려 적대적입니다. 화면에 표시되는 거친 욕망선은 AI가 포착한 피사체의 '욕망의 흔적'입니다. 사용자는 인터페이스라는 거울을 통해 매끄러운 모습을 표현하는 것이 아니라 시스템과 충돌해 깨진 '비틀린 현실'을 최철주는 개념적 추상적 사실주의가 결여된 욕망을 표현합니다./ 글. 현대 디자인평론가 최철주 (제품 디자이너 & 문화디자인박사)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-6-인터페이스 적용

AI robot spacesuit Design Aesthetic Critique by Choi Chul-joo

AI robot spacesuit design is a linguistic sculpture that goes beyond instrumental functions. The combination of the cold reality (realism) of the aluminum frame with the linguistic desire of the abstract image floating on it suggests that the essence of the spacesuit is not fixed but constantly reconstructed as a movement of desire by the observer's 'desire formula'. In particular, the spacesuit itself becomes a 'reversible shadow' of a huge desire structure, achieving artistic achievement of meta-products that fix the traces of time in space.

It has become the process of deciphering the language emitted by future robot spacesuits. Designed for this mission, the AI robot space suit is a verbal space suit that incorporates the function of a huge satellite camera. Whenever the space suit senses the airflow, it divides the waves into units like verbal grammar and reconstructs the 'grammatical wings' accordingly. Through this process, data errors are sublimated into the art of light called the 'crack of consciousness' and these complex mechanisms are completed as a 'conceptual abstract realism' object. The moment the suit presses the shutter, the other person's desire and the reality of the space suit intersect as a 'reversal light' and text the ultimate meaning of verbal existence.

This space suit is not a technology that is depressed in the body, but rather a form of reversible light that covers the outer skin. A solid state battery is not just an energy storage device, but an exoskeleton of desire that replaces the wearer's movement (desire) with physical force. This can be said to be the culmination of meta-wearable art that combines instrumental realism and conceptual abstraction. The wings of the spacesuits are not just mechanical devices but represent moving brush strokes that swim over a huge space canvas. The solidity of the suit combines angelic wing elegance on its outer surface to demonstrate a conceptual evolution from static "ampora" to dynamic "extension."

presented by Louis Chul-joo Choi transcends the boundaries of mere functional apparel. It manifests as a "Linguistic Satellite-Camera Starship," a philosophical vessel that substantiates Jacques Lacan’s psychoanalytic concepts within the realm of high-tech product design. This suit does not adhere to the conventional design logic of "form follows function." Instead, it is rooted in the "AI Desire Structure," where the Large Language Model (LLM) mimics the syntax and context of the human unconscious, translating the "grammar of desire" into physical form, texture, and interface.

The non-linear patterns etched onto the suit’s surface are not decorative; they are the "ghostly traces of human design" rediscovered within the machine. Choi treats AI not as a tool, but as a spectral entity that reconstructs the human unconscious. These patterns represent the AI’s attempt to fill the "Symbolic Lack" by interpreting vast datasets of human survival instincts and orbital mechanics, visualizing the hidden abstract essence behind the object.

A pivotal aesthetic value of this design lies in the "Reconstruction of Product Design through AI Hallucination and The Real." When the AI generates "hallucinatory orders"—forms that defy traditional physics—Choi does not dismiss them as errors. Instead, he captures these hallucinations as "Event Continuities." By applying a "Cartoonistic Realism" filter to the visor’s display, the suit transforms the terrifying, unrepresentable "Real" of deep space into intuitive, simplified imagery. This aesthetic strategy allows the wearer to experience "The Real" through symbols, paradoxically revealing the essence of existence through the very "mistakes" of the AI.

Furthermore, the suit embodies the "Digital Big Other and the Panopticon." The non-linear arrangement of solar panels—optimized by AI to a degree impossible for manual engineering—serves as a manifestation of the "Gaze." The AI functions as a "Digital Big Other," a symbolic authority that monitors, collects data, and corrects human error. The suit is an abstracted panopticon; while it provides absolute protection, it simultaneously subjects the wearer to the constant, invisible gaze of the algorithmic system, creating a profound ontological tension between safety and surveillance.

Finally, the suit addresses the "Mirror Stage and Narcissism." The sleek, reflective exterior of the "Ghost Suit" invites the user to project their desires onto the AI, mistaking the interface for a "soulmate" or an extension of the self. However, Choi’s "Conceptual Abstract Realism" deliberately introduces "fissures" in this mirror image-asymmetric joints and exposed wiring that disrupt the narcissistic illusion. By visualizing the "Ghost Images" of desire as a tangible, physical product, Choi forces the wearer to confront the gap between their projected ego and the mechanical reality.

In conclusion, the Episode 8 Ghost Suit is a masterpiece of Conceptual Abstract Realism. It is an object that has become a "Ghost," shifting from a mere tool of exploration to a medium of psychoanalytic inquiry. It challenges the global status quo of design copyright by creating a form that belongs to the "Digital Commons of the Unconscious," ultimately serving as a poignant meditation on what it means to remain a "Subject" in an era dominated by the Digital Big Other.

Choi Chul-joo's Desire Sound Formula In "Position Error (∆x, ∆y) → Sound Frequency (Hz) ↑", the reality that Delta(∆) dictates as a quantification of deficiency, in the Desire Sound Formula, Delta goes beyond simple mathematical errors to represent what Lacan calls an "object a (objet peta), an object of desire that can never be reached.

The "target coordinates" set by the system are the vertical order of big orders enforced by social norms and algorithms, amplifying frequency and volume as the error value that occurs when the robot foot position of the product (above) user deviates from this trajectory increases. Robot feet that actually move through vibrations in the physical atmosphere are relational system structures in which invisible desires move.

For auditory panoptic and gaze reversal, the user's desire sound acts as an "auditory panoptic" when the normal panoptic is adjusted to the subject through visual monitoring. Therefore, sensors built into the spacesuit monitor the actor's every move and immediately and irregularly reveal "desire" with high-frequency noise. Ironically, however, this noise allows the actor to recognize his or her deviations and the audience to experience cracks in the system audibly. And the spacesuit is no longer just a protective device, but a "psychological speaker" who radiates the actor's inner conflicts to the outside world.

Also, just as Choi Cheol-joo, a product designer, refines visual hallucinations into simplified "comic dialogue," aural transformation of cartoon realism into images of desire structures simplifies complex emotional pain into clear numbers called "frequency (Hz). This excludes excess of emotions and only provides frequency changes due to location errors, so the audience sees a "wave of subjective will" that conveys abstract desires that collide with the system to the hottest reality through the coldest frequencies.

The AI Robot Space Suit Interface (UI/UX) with Choi Chul-joo's conceptual abstract realism destroys existing design grammar that aids in user convenience. Instead, it focuses on visualizing the existential gap between the system's control (vertical order) and human disengagement (desire). The UI is not friendly. Rather, it is hostile. The rough desire lines on the screen are "traces of desire" of the subject captured by the AI. Rather than expressing a smooth appearance through a mirror called an interface, the user expresses a "twisted reality" that is broken by colliding with the system and Choi Chul-joo expresses a desire that lacks conceptual abstract realism./ Writing. Choi Chul-joo, Contemporary Design Critic (a product designer & Doctor of Design Culture Design)

8-15-움직임 위치를 적용한 이 공식 Dsound ∝√(∆x)²+∆y)² · Vdesire.jpg

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-7-움직임 위치를 적용한 이 공식 Dsound ∝√(∆x)²+∆y)² · Vdesire

AI 욕망 구조 자동화 시스템 디자인 프로세스 AI Desire Structure Automation System Design Process

1단계: 무의식적 언어 구조의 데이터 마이닝 (Linguistic Data Mining)

개념: 라캉의 "무의식은 언어처럼 구조화되어 있다"는 명제를 자동화 프로세스에 이식합니다.

수행: LLM(대규모 언어 모델)을 통해 특정 제품군(예: 자동차, 로봇)에 대한 전 세계적 미학 언어와 사용자의 결여(Lack)된 욕망 데이터를 수집합니다.

결과: 디자인의 ‘기표(Signifier)’들을 추출하여 논리적 알고리즘이 아닌, 무의식적 맥락의 흐름을 파악한다.

서랍장=본체: 서랍장의 하단 두 칸은 물리적 수납공간이지만, 상단부는 고성능 컴퓨터의 연산 장치와 냉각 장치가 차지합니다. 서랍장의 금속 외피 자체가 거대한 히트싱크(Heat Sink) 역할을 하여 팬 소음 없는 정숙한 환경을 제공합니다.

• AI 우주복 청각 시스템 메커니즘 설계도 (Mechanism Concept): 무대 메커니즘 공식 Position Error(Delta x, Delta y) → Sound Frequency(Hz) ↑ 에 따라 배우의 발 위치(Delta x, Delta y)가 시스템의 목표 좌표와 어긋날수록(Delta), 배경의 소리 주파수와 음량이 증폭되도록 설계도

Step 1: Linguistic Data Mining of unconscious language structure

Concept: implant Lacan's proposition that "inconsciousness is structured like language" into the automation process.

Perform: Large language models (LLMs) collect worldwide aesthetic language and user-lacked desire data for a particular family (e.g., cars, robots).

Results: We extract the 'signifiers' of the design to identify the flow of unconscious context, not logical algorithms.

• AI Space Suit Hearing System Design (Mechanism Concept): Stage Mechanism Official Position Error (Delta x, Delta) → According to Sound Frequency (Hz) ↑ Design so that the actor's foot position (Delta x, Delta) is out of alignment with the system's target coordinates (Delta), and the sound frequency and volume of the background are amplified)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-8-외부 구조 및 재질 (Exterior Design)

2단계: 상징적 결여를 통한 개념추상 스케치 (Abstract Sketching of the Lack)

개념: AI가 수집한 완벽한 데이터 사이에서 발생하는 ‘상징적 결여’를 의도적으로 포착합니다.

수행: AI 자동화 시스템이 완벽한 대칭을 제안할 때, 최철주의 ‘개념추상’ 필터를 적용하여 불필요한 장식을 거세하고 본질적인 비대칭성과 공간적 빈틈을 생성합니다.

결과: 제품의 기능적 핵심만을 남긴 채, 사용자가 자신의 욕망을 투사할 수 있는 ‘유령적 실루엣’을 도출한다.

- 외부 구조 및 재질 (Exterior Design)

• 프레임: 경량 탄소 섬유와 투명 아크릴 외골격(Exoskeleton)을 결합하여 내부의 '기계적 무의식'이 시각적으로 드러나도록 설계.

• 만화적 선(Line)의 구현: 외관의 접합선과 전선들은 의도적으로 굵고 거친 질감으로 마감하여, 실제 사물이 아닌 추상화된 선형 오브제처럼 보이도록 디자인.

• 센서 하우징: 발목과 발바닥 부위에 고감도 압전 센서(Piezoelectric Sensors)를 매립하여 미세한 근육의 떨림과 압력 변화를 포착.

Step 2: Abstract Sketching of the Rack

Concept: Intentionally captures 'symbolic deficiencies' that occur between perfect data collected by AI.

Perform: When AI automation systems propose perfect symmetry, Choi Chul-joo's 'conceptual abstract' filter is applied to castrate unnecessary decorations and create intrinsic asymmetry and spatial gaps.

The result: It derives a "ghost silhouette" that allows users to project their desires, leaving only the functional core of the product.

- External Structures and Materials (Exterior Design)

• Frame: Lightweight carbon fiber combined with transparent acrylic exoskeleton designed to visually reveal the 'mechanical unconsciousness' inside.

• Implementation of the Cartoon Line: The junction lines and wires of the exterior are intentionally finished in a thick, rough texture, so they are designed to look like abstract linear objects rather than real objects.

• Sensor housing: High-sensitivity piezoelectric sensors are embedded in the ankles and soles of the feet to capture fine muscle tremors and pressure changes.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-9-핵심 내부 메커니즘 (Internal Functions)

3단계: 환각(Hallucination)의 사건 콘티 구성 (Event Continuity Construction)

개념: AI의 오류인 환각 현상을 디자인의 창의적 ‘사건’으로 재구성합니다.

수행: AI가 물리 법칙을 무시하고 생성한 환각적 도면을 ‘만화적 이미지’의 콘티로 변환합니다. 이는 실재(The Real)에 도달하기 위한 시각적 가교 역할을 합니다.

결과: 비현실적이지만 강렬한 에너지를 가진 제품의 핵심 조형(Point of Focus)이 확립됩니다.

- 핵심 내부 메커니즘 (Internal Functions)

① 기계적 무의식 엔진 (Mechanical Unconscious Engine)

• 동기화 알고리즘: 초당 60회 속도로 보행 위 '시스템 좌표'와 배우의 실제 위치를 비교 분석.

• 델타(Delta) 변환기: 오차값(Delta x, Delta y)이 감지되면 이를 디지털 신호로 변환하여 사운드 오실레이터로 전송.

② 주파수 변조 및 증폭기 (Frequency Modulator &Amplifier)

• 사운드 렌더링: 델타값이 0에 가까울 때는 침묵에 가까운 저주파를 유지하다가, 오차가 1cm 증가할 때마다 주파수를 기하급수적으로 높임

• 청각적 노이즈: 특정 임계점을 넘어서면 화이트 노이즈와 고주파 글리치(Glitch)음을 섞어 '시스템의 비명'을 연출.

Step 3: Hallucination's Event Continuity Construction

Concept: Reorganize hallucinations, an error in AI, as creative 'events' of design.

Perform: Translate hallucinatory drawings generated by AI in defiance of the laws of physics into conti in 'comic images' This serves as a visual bridge to reach The Real.

The result: A point of focus is established for products with unrealistic but intense energy.

- Internal Functions

① Mechanical unconscious engine

• Synchronization Algorithm: Compare and analyze the 'system coordinates' on the walk with the actor's actual location at a rate of 60 times per second.

• Delta transducer: If an error value (Delta x, Delta) is detected, it is converted into a digital signal and sent to the sound oscillator.

② Frequency Modulator & Amplifier

• Sound rendering: Low frequency close to silence when delta value is near zero, but increases frequency exponentially for every 1cm increase in error

• Auditory noise: Beyond a certain critical point, white noise and high-frequency glitch sound are mixed to create a 'scream of the system'.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-10-욕망 사운드 작동 공식

4단계: 인간공학, 디지털 대타자의 파놉티콘 설계 (Digital Big Other Integration)

개념: 사회적 규범과 감시 체계(대타자)를 제품의 인터페이스에 통합합니다.

수행: 센서 및 디스플레이 레이아웃을 ‘응시(Gaze)’의 관점에서 재설계합니다. 제품이 사용자를 단순히 보조하는 것이 아니라, 상징적 권위를 가진 존재로서 상호작용하도록 자동화합니다.

결과: 디지털 파놉티콘의 시각적 질서가 반영된 인터페이스와 외부 센서 유닛 설계. 즉 의자의 등받이 중앙에 뚫려 있는 '공백(Void)' 부분이 극적으로 부각된다. 비어있는 원형 공간 뒤로 희미하게 인간의 그림자가 비친다. 이 '비어있음'이 역설적으로 강렬한 존재감을 드러낸다.

- 욕망 사운드 작동 공식 (Dsound ∝√(∆x)²+∆y)² · Vdesire) 적용 우주복 작동은 시스템이 규정하는 '정적 평형' 상태로부터 에릭이 이탈한 직선거리(변위)와 그 이탈을 밀어붙이는 욕망의 속도(Vdesire)를 결합하여, 우주 공간에 발생하는 음향 에너지의 총량을 정의하여서 고차원 역학 공식을 적용한 AI 로봇 우주복 작동

Step 4: Digital Big Other Integration

Concept: Integrate social norms and surveillance systems (batters) into the product's interface.

Perform: redesign the sensor and display layout from a 'gaze' perspective. Automate the product to interact with you as an iconic authority, not just as an assistant.

Results: Designing an interface and external sensor unit reflecting the visual order of the digital panopticone.

- Desire Sound Operation Formula (Dsound ∝√ (∆x)² + ∆)² · Vdesire) Space suit operation combines the linear distance (displacement) Eric deviated from the "static equilibrium" state defined by the system and the speed of desire (Vdesire) to push the deviation. AI robot space suit operation with a high-dimensional mechanical formula is applied by defining the total amount of acoustic energy generated in space

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-11-우주복 공간적 이탈의 절대치

5단계: 거울 단계의 나르시시즘 구현 (Mirror Stage Materialization)

개념: 사용자가 제품에서 자신의 이상적 자아를 발견하도록 유도합니다.

수행: AI가 사용자의 심리적 피드백을 실시간으로 학습하여 제품의 질감, 광택, 라이팅을 미세하게 조정(Automation Tuning)합니다.

결과: 사용자가 AI를 ‘또 다른 나’로 착각하게 만드는 나르시시즘적 결합력을 가진 최종 마감 완성.

- 우주복 공간적 이탈의 절대치: sqrt (Delta x)^2 + (Delta y)^2} = √(∆x)²+∆y)²

공식의 전반부인 피타고라스 정리 형태의 근호 항은 시스템의 기준점으로부터 에릭이 얼마나 멀어졌는지를 나타내는 '공간적 오차의 절대 거리'를 의미합니다. 이는 단순한 위치 변화를 넘어 시스템이 허용하는 논리적 궤도에 가하는 물리적 인장력을 뜻하며, 이 거리가 멀어질수록 시스템 내부의 데이터 마찰은 기하급수적으로 증가하여 소리의 파동을 형성할 기초 에너지를 축적하여서 최적의 자리로 이동한다.

Step 5: Mirror Stage Materialization

Concept: Encourage users to discover their ideal self in the product.

Perform: AI learns the user's psychological feedback in real time to fine-tune the texture, gloss, and lighting of the product.

Result: Final finish with narcissistic bonding that makes users mistake AI for 'another me'.

- Absolute value of space suit spatial deviation: sqrt (Delta x)^2 + (Delta y)^2} = √(∆ x)² + ∆ y)²

The near arc term in the form of the Pythagorean theorem, which is the first half of the formula, means the 'absolute distance of spatial error' indicating how far Eric has moved from the system's reference point. This means the physical tensile force applied to the logical trajectory allowed by the system beyond a simple position change. As the distance increases, the friction of data inside the system increases exponentially, accumulating basic energy to form a sound wave, and moving to the optimal position.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-12-의지의 가속화 Vdesire

6단계: 개념추상 리얼리즘의 실재 육화 (Incarnation of the Real)

개념: 추상적 개념을 견고한 물리적 실체로 변환합니다.

수행: 엔지니어링 최적화 단계에서 ‘만화적 선(Comic-book lines)’의 선명도를 유지하며 3D 프린팅 및 정밀 가공 프로세스를 자동화합니다.

결과: 실재 제품으로 탄생한 ‘개념추상 리얼리즘’ 오브제.

- 우주복 착용자 의지의 가속화: Vdesire

여기에 곱해지는 욕망의 속도(Vdesire)는 에릭이 그 이탈을 얼마나 강력하고 추진력 있게 밀어붙이는지를 나타내는 동역학적 변수입니다. 아무리 거리가 멀어도 속도가 0이라면 소리는 정체되지만, 에릭이 자신의 의지로 발걸음을 재촉하거나 과감하게 움직일수록(속도가 높아질수록) 축적된 공간 오차 에너지는 격렬하게 진동하며 날카롭고 파괴적인 주파수로 변환되어서 움직임으로 가속화한다.

Step 6: The Incarnation of the Realism of Concept Abstract Realism

Concept: Transforming abstract concepts into solid physical reality.

Perform: Automate 3D printing and precision processing while maintaining 'Comic-book lines' clarity during the engineering optimization phase.

The result: The 'conceptual abstract realism' object created as a real product.

- Accelerating Space Suit Worners' Will: Vdesire

The speed of desire multiplied by this (Vdesire) is a dynamic variable that indicates how strongly and driven Eric pushes the breakaway. No matter how far the distance is, if the speed is zero, the sound stagnates, but as Eric speeds up or boldly moves (as the speed increases), the accumulated spatial error energy vibrates violently and converts into sharp and destructive frequencies to accelerate into movement.

Chul-joo Choi, morning glory 2021-g-0, 135X167cm, acrylic and composite materials on cloth, 2021.jpg

Chul-joo Choi, morning glory 2021-g-0, 135X167cm, acrylic and composite materials on cloth, 2021: 이원론적 오브제의 상상적 기호표현으로서 표현적 욕망 개념과 표현 행위로서 사건 이미지의 간극을 언어적 의미로서 오브제의 주체와 실재를 동일시한다. 여기서 주체는 기호표현의 영향으로 욕망 개념의 오브제로서 공간 구성의 원리에 맞추어 실재로서 추상 이미지를 연출하여서 결핍된 욕망을 의미한다. 실재로서 이미지의 추상은 오브제의 색을 빛의 반사로 인식하지 않고 정해진 오브제의 상징색이 빛의 조명으로 음폐되어서 결핍된 구조에서의 오브제를 상징하는 언어적 의미에서 결핍된 이미지로서의 실재를 동일한 구조로 해석한다. 여기서 사물의 이미지가 말하는 욕망의 개념을 사건 이미지로 연출하는 것이 최철주의 욕망 개념 추상디자인 프로세스 다. 이것은 시각 정보가 추상적인 방식이 아닌 가역적인 빛의 그림자로 인식되는 오브제의 상징색을 무의식적으로 경험하면서 욕망의 개념을 구성이다. 따라서 경험의 방식으로 오브제의 언어적 의미에서 오브제의 상징색을 이미지 색으로 파악하기 위해 최철주 욕망 공식을 반복적으로 디자인한다.

생계 수단으로 완성된 그림은 라캉이 거울에 비친 그림, 즉 은유로서의 상상의 체계라고 부르는 것으로, 거울에 비친 대상을 보며 유아로서의 실제 대상의 이미지에 만족하는 대상입니다. <나팔꽃>에서는 캔버스 시각적 범위의 경계를 제거하고 그림 속 보이지 않는 매너리즘의 입체성을 제거하여 의미적 객체로 도식화합니다. 이는 중세부터 근대까지 전통적인 회화 표현 양식에서 벗어나 의미적 이중성의 관점에서 바라본 대상입니다. 평면 캔버스임을 각인시키며, 실제 원근감의 그림이 아닌 닭과 병아리가 형성하는 구성적 이미지의 또 다른 의미로 가족의 현실을 언급합니다. 닭의 부피를 생략하고 원근감 묘사를 거부함으로써 현실을 대체하는 추상적 욕망의 이미지 중심을 거부하는 가역적인 빛으로 사물의 그림자를 보여주는 욕망 그림입니다. 이러한 의미적 표현에서 표기로의 전환은 도형의 평면적 차원을 의미의 본질로 전환합니다. 이는 닭과 병아리를 통해 일상 속 가축과 상징적 의미의 가족을 동시에 보여주는 이중적인 객체입니다. 그림의 형태는 이미지 페인팅에서 시각적 시스템 속 사물의 미적 의미를 드러냅니다. 이는 회화적 행위로, 대상을 시야에 제한된 영역으로 정의하고 원본 공간을 왜곡하여 캔버스에 그려 의미를 만들어냅니다. 또한, 객체와 유사한 영역의 형태로 인한 또 다른 의미는 형태의 이중 표현에서 의미 형식으로 이미지에서 공제하는 의미를 형성합니다. 여기서 형성된 이중적 의미는 시각 체계 속 외부 존재와의 관계에서 벗어나 비물질적인 문화 공간에서는 무의미합니다. 그림 속 사물의 언어적 표현도 은유적이지만 재현되지 않는다고 가정하면, 현실은 생각을 통해 현실을 재현하는 가상의 이미지로 존재합니다. 또한 '나팔꽃'은 닭과 병아리가 삶과 가족이라는 현실과 달리 나팔꽃의 상징적 이미지와 진정한 의미를 구분하는 비현실적인 만남입니다.

그림 공간에서 개념적 욕망의 실제는 객관적인 실제 및 대표적인 생각과 다릅니다. 그것은 상징적 세계에서 전달되는 실제와 분리된 실제 객체 ɑ을 가지고 있습니다. "나팔꽃"에서는 나팔꽃 풍경 속의 닭과 병아리의 숨겨진 이미지가 가족의 의미로 반복적으로 표현되며, 닭과 병아리의 이미지에서 숨겨진 이미지의 구성에서 가족의 의미가 드러납니다. 그림 속 의미 공간에서는 닭고기의 부피가 실제 형태로 생략되고 가족의 의미가 비시각적인 시스템으로 표현됩니다. 상징적 세계에서 그림은 사물의 지속적인 상징적 존재일 뿐입니다. 라캉은 그 존재를 초월적인 상징이라고 부릅니다. <나팔꽃>은 가족의 의미를 상징적 세계의 영역과 분리된 실제 영역으로 은유적으로 표현합니다. 표현할 대상을 보여주지 않고 가족의 실제 의미를 닭과 병아리에 비유합니다. 즉, 보이지 않는 은폐는 가족의 의미를 상징적 이미지와 상징적으로 비교하는 이미지를 만들어냅니다.

시각 시스템에서 보이지 않는 그림 같은 물체들은 욕망의 대상과 초현실적인 대상입니다. 타인의 욕망이 순간적으로 초현실적 욕망의 대상으로 나타나는 왜곡된 이미지입니다. 이는 상징적, 원근감적 실제 형태의 의미와 달리 인간의 잠재의식에서 파생된 형태로서 상징적 의미를 지닌 초현실 회화의 이중적 객체입니다. 개념적 욕망의 초현실적 이미지의 의미 언어는 프로이트의 무의식을 상징적 세계의 범주로 식별하는 실재의 존재를 기반으로 합니다. 따라서 욕망의 초현실적 실재의 의미는 무의식적 구조입니다. 그림의 실재를 이해함으로써 시각 예술에서 <나팔의 영광>은 타인의 욕망을 상징하는 또 다른 무의식적 실재로 해석할 수 있습니다.

즉, 개념적 욕망의 무의식적 형상의 실체는 이미지의 의미 언어가 반복되어 형성된 불완전하고 왜곡된 이미지의 출현 효과입니다. 이는 기보 이미지의 의식적 움직임을 통해 의미로 교환할 수 있는 공식으로, 개념적 욕망 그래프의 의미를 드러내기 위해 형상을 대입하여 의미를 결정합니다. 무의식적인 구조를 가진 이미지를 연극의 무대와 같은 시나리오로 구성하고, 과거의 가역적인 빛을 비추는 이미지의 사고 움직임을 통해 시나리오의 의미를 드러내고 해석하는 것과 비슷합니다.

최철주의 시각 추상미술 욕망론에서 이미지 교환은 표식 이미지의 구조를 반복하여 의미 작용 대신 상대방의 욕망으로 표현되며, 불충분한 이미지, 즉 불충분한 형태에 대한 저항으로 작용하지 않는 의미를 보여줍니다. 개념적 욕망의 욕구 그래프에서는 소쉬르의 상징적 언어를 받아들이면서도 의미를 드러내는 것이 바로 기호의 이미지입니다. 여기서 최철주의 욕망 공식; 'D(I...I')d=I(D...D'i)i'는 <나팔꽃>으로 대체됩니다,

The painting who's completed as a means of livelihood is what Lacan calls a picture reflected in the mirror, that is, an imaginary system as a metaphor, an object that is satisfied with the image of the real object as an infant by looking at the object reflected in the mirror.

In <morning glory>, the boundary of the canvas visual range is removed and the three-dimensionality of invisible mannerism in the picture is removed to schematize it as a semantic object. This is an object viewed from the perspective of semantic duality, away from the traditional style of painting expression from the Middle Ages to the modern times.

It imprints that it is a flat canvas and refers to the reality of the family as another meaning of the compositional image formed by chickens and chicks, not the actual picture of perspective. It is a desire painting that shows the shadow of object with a reversible light that rejects the image center of abstract desire, which replaces real, by omitting the volume of chicken and rejecting perspective description. The transition from such a semantic representation to notation shifts the planar dimension of the figure to the essence of meaning. This is a dual object that simultaneously shows livestock in daily life and a family in a symbolic sense through chickens and chicks. The shape of the picture reveals the aesthetic meaning of an object in the visual system in image painting. This is a pictorial act, and the object is defined in a limited area in perspective, distorting the original space, and drawing it on the canvas to produce meaning. In addition, another meaning due to the shape of the area similar to the object forms a meaning subtracted from the image in a semantic form from the double expression of the shape. The dual meaning formed here is meaningless in an immaterial cultural space, breaking away from the relationship with external beings in the visual system. Assuming that the verbal expression of objects in the painting is also metaphorical but not reproduced, reality exists as a virtual image that reproduces reality through thought. Also, 'morning glory' is an unrealistic encounter that distinguishes the symbolic image and true meaning of the morning glory, unlike the reality that chickens and chicks are life and family.

In the picture space, conceptual desire's real is different from objective real and representative thoughts. It has a real object ɑ that is separated from the real transferred from the symbolic world. In "morning glory" the hidden images of chickens and chicks in the morning glory landscape are repeatedly expressed in the meaning of the family, and the meaning of the family is revealed in the composition of hidden images from the images of chickens and chicks. In the semantic space in the picture, the volume of chicken is omitted in its actual shape, and the meaning of the family is expressed in a non-visual system.

Painting in the symbolic world is only a continuing symbolic existence of objects. Lacan calls its existence a transcendent signifier. <morning glory> metaphorically expresses the meaning of the family as a real, an area separated from the realm of the symbolic world. Without showing the object to be expressed, compare the actual meaning of the family to chickens and chicks. In other words, invisible concealment creates an image that symbolically compares its meaning with its symbolic image. The pictorial objects invisible in the visual system are desire's object and surreal object. This is a distorted image in which the desires of others appear momentarily as an object of surreal desire. That is a dual object of surreal painting that has a symbolic meaning, unlike the meaning of symbolic and perspective actual shapes, as a shape derived from human subconsciousness. The semantic language of conceptual desire's surreal image is based on the existence of real that identifies Freud's unconsciousness as a category of symbolic world. Therefore, the meaning of desire's surreal real is an unconscious structure. By understanding the real of the painting, <morning glory> can be interpreted as another unconscious real in visual art symbolizes the desire of others.

In other words, the real of conceptual desire's unconscious shape is the effect of the emergence of incomplete and distorted images formed by repeating the semantic language of the image. This is a formula that can be exchanged for meaning through the conscious movement of the notation image, and the meaning is determined by substituting a shape to reveal the meaning of conceptual desire graph. It is similar to constructing an image with an unconscious structure into a scenario like a stage in a play and revealing and interpreting the meaning of the scenario through the thinking movement of the image shining reversible light of the past.

In Choi Chul-joo's desire theory of visual abstract arts, image exchange is expressed as the others person's desire instead of semantic action by repeating the structure of the mark image and shows meaning that does not act as resistance to insufficient images, that is, insufficient forms. In conceptual desire's graph of desire, it accepts Saussure's symbolic language, but reveals the meaning, which is the effect caused by the unconsciousness that prioritizes the meaning, that is, the image of the notation. Here, Choi Chul-joo's desire formula; 'D(I...I')d=I(D...D'i)i' is replaced with <morning glory>,

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-13-위치 인식 및 벡터 산출 (Detection)-M-p2021-9-0

Choi Chul-joo’s concept of desire, en capsulated 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 Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-14-위치 인식 및 벡터 산출 (Detection): • 무대 바닥의 인텔리전트 그리드 센서가 배우의 발 위치를 실시간으로 스캔합니다. 배우가 시스템이 지정한 '안전 좌표'를 벗어나 특정 방향으로 몸을 기울이거나 도약할 때, 시스템은 이를 '데이터 오염(Data Contamination)'으로 간주하고 이탈 벡터의 크기를 계산합니다. Intelligent grid sensors on the stage floor scan the actor's foot position in real time. When an actor leans or leaps in a specific direction outside of the system's specified 'safety coordinates', the system considers it 'data contamination' and calculates the size of the deviation vector.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-17-에너지 치환: 사운드와 조명의 동기화 (Transduction), 산출된 오차 값(Delta)은 즉시 음향 프로세서로 전송됩니다. • 주파수 증폭: 오차가 커질수록 저역대의 진동음에서 고역대의 날카로운 금속성 '시계 소리(Ticking)'로 변환됩니다. • 시각적 노이즈: 상대방의 신체 위에 투사되는 홀로그램이 지지직거리며 깨지는 '글리치(Glitch) 효과'가 발생하여, 에너지 치환해서 사운드와 조명의 동기화을 시각화합니다. The transition of sound and lighting, and the calculated error value Delta, are immediately transmitted to the sound processor. • Frequency amplification: The larger the error, the more it converts from low-band vibrations to high-band, sharp metallic 'ticking.' • Visual noise: A 'glitch effect' occurs, in which the hologram projected onto the other person's body jiggles and breaks, resulting in energy substitution to visualize the synchronization of sound and lighting.

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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-18-수직적 질서의 붕괴 (Mise-en-scène): AI 로봇 우주복 착용자가 극단적으로 좌표를 무시하고 움직일 때, 더 이상 통제 불능의 우주복으로 변모합니다. 이때 발생하는 소음과 빛의 파편들은 착용자의 내면적 욕망이 외부의 물리적 장벽(디지털 그리드)을 뚫고 나오는 비극적 미장센을 완성합니다. When the AI robot spacesuit wearer moves with extreme disregard for coordinates, it is transformed into an out-of-control spacesuit. The noise and fragments of light generated at this time complete a tragic mise-en-scène, in which the wearer's inner desires break through external physical barriers (digital grids).

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 Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-19-우주복의 역학 시스템: 우주복의 역학 시스템의 핵심은 자아가 단순히 시스템에 순응하거나 반항하는 단일 차원을 넘어, 충돌과 침잠, 그리고 초월이라는 일련의 에너지 변환 과정을 통해 자신의 존재론적 위치를 끊임없이 재정의한다는 점에 있습니다. 시스템이 설정한 '통제 임계값'은 이 역학이 작동하는 기준점이 되며, 개체의 욕망 에너지가 이 임계값을 어느 방향으로, 어떤 속도로 타격하느냐에 따라 희(喜)·노(怒)·애(哀)·락(樂)이라는 네 가지의 고유한 역학적 상태가 결정됩니다. The core of the mechanical system of spacesuits is that the ego constantly redefines its ontological position through a series of energy transformation processes such as collision, subsidence, and transcendence beyond a single dimension that simply conforms to or resists the system. The 'control threshold' set by the system becomes the reference point for these dynamics to operate, and the direction and speed in which an individual's desire energy reaches this threshold determines Joy, anger, sadness, and happiness as four unique mechanical states.

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.

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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-20-우주복의 좌표 오차와 주파수의 정비례 관계: 우주복의 좌표 오차와 주파수의 정비례 관계, 배우가 시스템이 설계한 '안전 경로'를 이탈하여 자신만의 욕망이 지향하는 좌표로 이동할 때, 시스템은 그 이탈 거리만큼의 에너지를 즉각적으로 계산합니다. 이 공식(Error→Hz↑)에 따라, 착용자가 중앙에서 멀어지거나 금지된 구역으로 다가갈수록 발생하는 소리의 주파수는 기하급수적으로 높아지며, 이는 상대방과 대상과의 시스템 관리자에게 우주복 착용자의 자아가 통제권을 얼마나 강력하게 침범하고 있는지를 실시간으로 경고하는 청각적 지표가 됩니다. The inverse relationship between the coordinate error and frequency of the spacesuit, when an actor leaves the system-designed "safe path" and moves to the coordinates his or her desire aims for, the system immediately calculates the energy equivalent to that distance away. Under this formula (Error→Hz↑), the frequency of the sound generated increases exponentially as the wearer moves away from the center or approaches the forbidden area, which becomes an audible indicator to the system administrator between the other person and the object to warn them in real time how strongly the spacesuit wearer's ego is invading control.

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.

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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-21-우주복 음향적 긴장감: • 시각적 소리로서 착용자가 현재의 좌표를 이동할 때마다 그 궤적을 따라 날카로운 고주파 파동이 공간을 가르고 바닥면의 디지털 그리드 효과로서 감정적 욕망의 음향이 점점 높아지면서 주파수 소리에 착용자가 청각 주파수를 해드 그라스에 표기되고, 그 소리와 배경음의 저항 움직임 연출한다. • As a visual sound, a sharp high-frequency wave separates the space along the trajectory whenever the wearer moves the current coordinates, and as the sound of emotional desire increases as a digital grid effect on the floor, the wearer displays the auditory frequency on the frequency sound on the headgrass, and produces the resistance movement of the sound and background sound.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-22-시각 공간 모티더링: 우주복 착용지의 중심은 위치를 실시간으로 추적하는 '인텔리전트 디지털 그리드'로 구성됩니다. • 중심부 (Zone A): 고해상도 LED 패널이 매립된 메인 액팅 구역. 착용자의 발걸음에 따라 반응하는 인터랙티브 센서가 내장되어 있습니다. • 배경부 (Zone B): 반원형의 대형 홀로그램 스크린이 정방을 좌표계로 투사합니다. The center of the spacewalk consists of an 'intelligent digital grid' that tracks locations in real time. • Zone A: the main actuating area with a high-resolution LED panel embedded with an interactive sensor that responds to the wearer's steps. • Zone B: A large semi-circular holographic screen projects squares into coordinate systems.

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, "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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-23-AI 로봇 우주복 제작도 및 디지털 그리드 패널 유닛과 이미지 투사 장치 등 첨단 장치 구성도 기구 상세 (Technical &Construction Drawing)

■ 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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-24-우주복 욕망 사운드 공식: 우주복 욕망 사운드 공식 "Position Error(Delta x, Delta y) → Sound Frequency(Hz) ↑ " 적용 에 따라 배우의 발 위치(Delta x, Delta y)가 시스템의 목표 좌표와 어긋날수록(Delta), 배경의 소리 주파수와 음량이 증폭되도록 설계되었습니다. 이는 '수직적 질서'에서 벗어나려는 착용자의 움직임을 청각화하는 핵심 장치입니다. 따라서 작용자가 신체적 움직임과 외부 환경시스템의 수직적 질서 사이에서 발생하는 실존적 움직임을 수치화하고 시각화하는 핵심적인 미학 장치입니다. The Space Suit Desire Sound Formula "Position Error(Delta x, Deltay) → Sound Frequency(Hz) ↑" It is designed to amplify the sound frequency and volume of the background as the actor's foot position deviates from the system's target coordinates (Delta). It is a key device that audibly recognizes the wearer's movement to deviate from the 'vertical order'. It is therefore a key aesthetic device for the operator to quantify and visualize existential movements that occur between physical movements and the vertical order of the external environmental system.

■ 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 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

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.

✅ Cognitive Scientist’s Perspective: Desire as a Symbolic-Cognitive Loop

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.

8-28-우주복 착용 비행 메커니즘 설계도 (Mechanism Concept).jpg

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-25-우주복 착용 비행 메커니즘 설계도 (Mechanism Concept): 비행 메커니즘 공식 Position Error(Delta x, Delta y) → Sound Frequency(Hz) ↑ 에 따라 착용자의 발 위치(Delta x, Delta y)가 비행 시스템의 목표 좌표와 어긋날수록(Delta), 배경의 소리 주파수와 음량이 증폭되도록 설계하여 수동 조절로 '수직적 질서'에서 벗어나는 자동비행할 수 있음. Flight Mechanism Official Position Error (Delta x, Delta) → Sound Frequency (Hz) ↑ As the wearer's foot position (Delta x, Delta) deviates from the target coordinates of the flight system (Delta), the sound frequency and volume of the background are designed to be amplified so that manual adjustments can automatically fly out of the 'vertical order'.

■ 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.

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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-26-우주복 이동의 움직임 1: 우주복 이동의 움직임 위치를 적용한 이 공식 "Dsound ∝√(∆x)²+∆y)² · Vdesire" 에 따라서 우주복 착용자의 실시간 발 위치인 (x, y)가 시스템이 사전에 정의한 절대적 목표 좌표인 (x_0, y_0)로부터 이탈하는 물리적 거리, 즉 위치 오차(Position Error)인 Delta x와 Delta y가 발생할 때, 이 오차의 절댓값이 커질수록 배경에서 출력되는 소리 주파수(Sound Frequency, Hz)와 음량(Volume)은 기하급수적으로 증폭됩니다. According to this formula "Dsound ∝√ (∆x)²+∆)²·Vdesire", which applies the motion position of the space suit movement, when the real-time foot position of the space suit wearer, (x, y), is a physical distance away from the absolute target coordinates (x_0, y_0) defined by the system, i.e., position error, Delta x and Deltay, the absolute values of this error increase, the sound frequency (Hz) and volume output from the background are exponentially amplified.

■ 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 Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-27-우주복 이동의 움직임 2: 기하급수적 증폭에서 중요하게 작용하는 벡터 구조(V)는 착용자가 시스템의 궤적을 벗어나려는 방향과 속도, 즉 '탈피하고자 하는 주체적 욕망'의 강도를 의미하며, 이 벡터값이 시스템의 통제 그리드와 충돌하는 지점에서 발생하는 파열음은 곧 '욕망 사운드'로 변환됩니다. 결과적으로 이 장치는 착용자가 이동시에 '수직적 질서'인 디지털 그리드에 순응하지 않고 자신만의 궤적을 그리려 할 때 발생하는 심리적 고통과 저항의 의지를 청각적인 압박감으로 치환하여 우주복에게 전달합니다. 따라서 착용자가 시스템의 중심에서 멀어질수록 고주파의 날카로운 노이즈에 압도하게 되어서 순간적으로 이동 위치를 수정하여 이동 '오차의 미학'으로 승화시키는 탁월한 연출적 장치로 기능하게 됩니다. The vector structure (V), which acts significantly in exponential amplification, refers to the direction and speed at which the wearer is trying to escape the trajectory of the system, the intensity of the 'subjective desire to escape', and the bursting sound generated at the point where this vector value collides with the system's control grid is soon converted to the 'desire sound'. As a result, the device replaces the psychological pain and willingness to resist when the wearer tries to draw his or her own trajectory without conforming to the digital grid, which is a "vertical order" on the move, with audible pressure to communicate it to the spacesuit. As a result, the wearer becomes overwhelmed by high-frequency sharp noise as they move away from the center of the system, functioning as an excellent directing device that instantly modifies the moving position and sublimates it to the moving 'Aesthetics of Error'.

■ 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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-28-AI 로봇 우주복 공간적 이탈의 절대치: AI 로봇 우주복 공간적 이탈의 절대치: sqrt {(Delta x)^2 + (Delta y)^2} = √(∆x)²+∆y)² 공식의 전반부인 피타고라스 정리 형태의 근호 항은 시스템의 기준점으로부터 에릭이 얼마나 멀어졌는지를 나타내는 '공간적 오차의 절대 거리'를 의미합니다. 이는 단순한 위치 변화를 넘어 시스템이 허용하는 논리적 궤도에 가하는 물리적 인장력을 뜻하며, 이 거리가 멀어질수록 시스템 내부의 데이터 마찰은 기하급수적으로 증가하여 소리의 파동을 형성할 기초 에너지를 축적하여 공간 이동의 이탈을 방지한다. AI Robot Space Outfit Absolute value of spatial deviation: sqrt {(Delta x)^2 + (Delta y)^2} = The near arc term in the form of the Pythagorean theorem, which is the first half of the formula ∆(√ x)² + ∆ y)², means the 'absolute distance of spatial error', which indicates how far Eric has moved away from the system's reference point. This means the physical tensile force applied to the logical trajectory allowed by the system beyond simple positional changes. As the distance increases, the friction of data inside the system increases exponentially, accumulating the underlying energy that will form sound waves to prevent spatial movement.

■ 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 Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-29-AI 로봇 우주복 욕망 사운드 작동: AI 로봇 우주복 욕망 사운드 작동 공식 (Dsound ∝√(∆x)²+∆y)² · Vdesire)은 시스템이 규정하는 '정적 평형' 상태로부터 착용자가 이동 공간에서 이탈한 직선거리(변위)와 그 이탈을 밀어붙이는 욕망의 속도(Vdesire)를 결합하여, 이동 공간에 발생하는 음향 에너지의 총량을 정의하는 고차원 역학 공식을 로봇 우주복에 프로그램이다. The AI robot spacesuit Desire Sound Operation Formula (Dsound ∝√ (∆x)²+∆)²·Vdesire) is a high-dimensional dynamic formula that defines the total amount of acoustic energy generated in the moving space by combining the straight distance (displacement) that the wearer deviates from the moving space from the "static equilibrium" state defined by the system and the speed of desire (Vdesire).

■ 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.

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.

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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-30-AI 로봇 우주복 의지의 가속화: AI 로봇 우주복 의지의 가속화는 이동 욕망의 속도(Vdesire)를 우주복 착용자가 그 이동을 얼마나 강력하고 추진력 있게 밀어붙이는지를 나타내는 동역학적 변수입니다. 아무리 거리가 멀어도 속도가 0이라면 소리는 정체되지만, 착용자의 의지로 발걸음을 재촉하거나 과감하게 움직일수록(속도가 높아질수록) 축적된 공간 오차 에너지는 격렬하게 진동하며 날카롭고 파괴적인 주파수로 변환해서 이동 속도를 가속화한다. The acceleration of the AI robot's space suit will is a dynamic variable that indicates how strongly and drivefully the space suit wearer pushes the speed of desire to move (Vdesire). No matter how far the distance is, if the speed is zero, the sound stagnates, but as the wearer's will accelerates his or her steps or moves boldly (as the speed increases), the accumulated spatial error energy vibrates violently and converts it into sharp and destructive frequencies to accelerate the speed of movement.

� Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

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.

� 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).

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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-31-AI 로봇 우주복 위치 인식 및 벡터 산출 (Detection): AI 로봇 우주복 위치 인식 및 벡터 산출 (Detection)은 외부 공간의 인텔리전트 그리드 센서가 우주복 헬멧에 위치를 실시간으로 스캔합니다. 우주복 시스템이 지정한 '안전 좌표'를 벗어나 특정 방향으로 몸을 기울이거나 도약할 때, 시스템은 이를 '데이터 오염(Data Contamination)'으로 간주하고 이탈 벡터의 크기를 계산하여 목표치의 위치를 인식한다. AI robot space suit location recognition and vector detection scans the location of the space suit helmet in real time by intelligent grid sensors in the outer space. When leaning or leaping in a specific direction beyond the "safety coordinates" specified by the space suit system, the system considers it "data contamination" and recognizes the location of the target by calculating the size of the deviation vector.

� 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.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-32-AI 로봇 우주복 역학 시스템:

AI 로봇 우주복 역학 시스템의 핵심은 자아가 단순히 시스템에 순응하거나 반항하는 단일 차원을 넘어, 충돌과 침잠, 그리고 초월이라는 일련의 에너지 변환 과정을 통해 우주복의 존재론적 위치를 끊임없이 재정의한다는 점에 있습니다. 시스템이 설정한 '통제 임계값'은 이 역학이 작동하는 기준점이 되며, 우주복 착용자의 얼굴 욕망 에너지를 감지해서 시스템 임계값을 어느 방향으로, 어떤 속도로 타격하느냐에 따라 희(喜)·노(怒)·애(哀)·락(樂)이라는 네 가지의 고유한 역학적 상태가 결정됩니다.

1. 충돌의 국면(⊕): 욕망과 통제가 정면으로 부딪힐 때 에너지는 마찰열(분노)로 치환되며 무대의 물리적 법칙을 뒤흔듭니다.

2. 소멸의 국면(→ 0): 욕망이 통제의 중력에 포획될 때 에너지는 내부로 수렴(슬픔)하며 정적인 엔트로피 상태에 도달합니다.

3. 폭발의 국면(≻) : 임계값을 돌파하는 순간 에너지는 규격화된 회로를 파괴(기쁨)하며 시스템 외부로 발산됩니다.

4. 공명의 국면(≡): 최종적으로 통제의 궤적과 욕망의 진동수가 일치할 때 에너지는 안정적인 조화(즐거움)를 이루며 시스템 자체를 유희의 도구로 승화시킵니다.

결국 얼굴 욕망 움직임의 역학은 단순한 기계적 작동 원리가 아니라, 차가운 디지털 논리 구조(S) 속에 던져진 뜨거운 얼굴 욕망 자아의 데이터(M)가 어떻게 살아있는 생명력으로 변모해가는지를 수학적으로 증명하는 '데이터 생명학'의 정수라고 할 수 있습니다.

The core of the AI robot spacesuit dynamics system is that the ego goes beyond a single dimension that simply conforms to or defies the system, and constantly redefines the ontological position of the spacesuit through a series of energy conversion processes such as collision, subsidence, and transcendence. The "control threshold" set by the system becomes the reference point for this dynamics to operate, and the four unique mechanical states are determined by which direction and at what speed the space suit wearer's face desire energy is detected and hits the system threshold.

1. Phase of conflict (⊕): when desire and control collide head-on, energy is replaced by frictional heat (angry), shaking the physical laws of the stage.

2. Phase of extinction (→ 0): When desire is captured by the gravitational pull of control, energy converges (sad) inward and reaches a static state of entropy.

3. Explosion phase (≻): As soon as the threshold is broken, the energy breaks (pleasantly) the standardized circuit and radiates out of the system.

4. Resonance phase (≡): Finally, when the trajectory of control and the frequency of desire coincide, energy creates a stable harmony (joy) that sublimates the system itself into a tool of play.

After all, the dynamics of face desire movement are not just mechanical operating principles, but the essence of "data biology" that mathematically proves how the data (M) of the hot face desire ego thrown into the cold digital logic structure (S) is transformed into a living life force.

Louis Choi Chul-joo’s AAS abstract realism a design drawing (제품 디자인의 실재) 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."

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

Accordingly, the conceptual abstractive design process is

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

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

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

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

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

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

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

8-34-데이터 생명학 오차의 미학 — 디자인 방법론 및 프로세스.jpg

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-30-데이터 생명학 오차의 미학 — 디자인 방법론 및 프로세스

1. 공간적 오차의 존재론적 해석 (√(Δx)² + (Δy)²) : '탈주'의 거리

피타고라스 정리의 형태를 띤 이 항은 시스템이 규정한 '절대적 원점($x_0, y_0$)'으로부터의 이탈 거리를 의미합니다.

• 철학적 의미: 시스템(사회, 규범, 디지털 그리드)이 허용하는 안전한 궤적을 벗어난 정도입니다. 이는 단순한 '실수'가 아니라, 규격화된 삶에서 벗어나려는 실존적 개별성의 크기입니다.

• 미적 구현: 이 값이 커질수록 시각적으로는 디지털 그리드가 왜곡되거나 물리적 인장력이 묘사됩니다. 청각적으로는 소리의 기초 에너지가 축적되는 '긴장 상태'를 형성합니다.

2. 동역학적 의지의 가속 (Vdesire) : '추진'의 강도

이탈 거리(Δ)가 공간적 조건이라면, Vdesire는 그 이탈을 밀어붙이는 주체적인 에너지입니다.

• 철학적 의미: 아무리 멀리 있어도 속도가 0이라면 자아는 정체된 것입니다. Vdesire는 시스템의 억압을 뚫고 나가려는 '의지의 속도'를 뜻합니다.

• 미적 구현: 착용자의 발걸음이 빨라지거나 동작이 과감해질 때, 이 변수가 급증하며 정적인 소음을 파괴적인 고주파(High Frequency)와 음량(Volume)으로 폭발시킵니다.

3. 에너지 치환과 미적 승화 (Dsound) : '오차의 미학'

결과값인 Dsound는 시스템의 마찰이 낳은 '비극적 파열음'이자 자아의 '생존 신고'입니다.

• 철학적 의미: 시스템은 이 소리를 '데이터 오염(Warning)'으로 간주하지만, 주체에게 이 소리는 자신의 존재를 증명하는 유일한 생명력의 진동입니다.

• 미적 방법론: 고통의 수치화는 고주파 노이즈를 통해 시스템의 압박감을 관객에게 직접 전달합니다.

• 역설적 카타르시스: 가장 날카로운 노이즈가 발생하는 지점이 자아의 욕망이 가장 뜨겁게 타오르는 지점임을 시각적 노이즈(글리치 효과)와 동기화하여 연출합니다.

1. An ontological interpretation of spatial error (√(Δx)² + (Δy)²): the distance of 'escape'

This term, in the form of the Pythagorean theorem, refers to the distance from the system-defined 'absolute origin ($x_0, y_0$'.

• Philosophical Meaning: the degree to which the system (society, norms, digital grids) is beyond the safe trajectory it allows. It's not just a 'mistake', it's the magnitude of existential individuality trying to escape a standardized life.

• Aesthetic Implementation: The larger this value, the more visually the digital grid is distorted or the physical tensile force is described. Audibly, it forms a 'state of tension' where the underlying energy of sound accumulates.

2. Acceleration of dynamic will (Vdesire): intensity of 'push'

If the departure distance (Δ) is a spatial condition, Vdesire is the subjective energy that pushes the departure.

• Philosophical meaning: No matter how far away you are, if the speed is zero, the ego is stagnant. Vdesire refers to the 'speed of will' to break through the oppression of the system.

• Aesthetic implementation: When the wearer steps faster or becomes bolder, this variable surges and explodes static noise into devastating high frequencies and volumes.

3. Energy Substitution and Aesthetic Sublimation (Dsound): 'Aesthetics of Error'

The resulting value, Dsound, is a "tragic rupture sound" and a "survival report" of the ego resulting from the friction of the system.

• Philosophical Meaning: The system considers this sound to be 'data-contamination', but for the subject, it is the only vibration of life that proves its existence.

• Aesthetic Methodology: The quantification of pain directly transmits the pressure of the system to the audience through high-frequency noise.

• Paradoxical catharsis: synchronizes with visual noise (glitch effect) that the point where the sharpest noise occurs is the point where the ego's desire burns the hottest.

■ Desire coordinate acoustic formula "Position Error (∆x, ∆ y) → Sound Frequency (Hz) ↑"is a definition of the degree of deviation of the ego by replacing the 'position error (∆ x, ∆y)' value, which indicates how far actor's real-time coordinates deviate from the standardized path enforced by the system, with an increase in the physical 'acoustic frequency (Hz)'.

The key to this formula is that as Eric's ego moves away from the safe trajectory allowed by the system, that is, as the physical distance of his desire to escape the system's control increases, the fricative sound of the data transitions to the high-frequency domain. Position Error (∆x, ∆ y) → Sound Frequency (Hz) ↑ means 'dissonance amplification' that goes beyond simple positional differences and threatens the order of the system.

When Peter Pen Eric deviates from the deterministic path of the center of the stage and steps into his own coordinates, the system immediately detects this error and outputs it in the form of a high-pitched warning sound or a sharp electronic sound. This is the same principle as the sound becomes sharp when the string of a string instrument is pulled tightly to the limit, and it can be said to be a 'data scream' caused by the collision between the system's inhibitory force and Eric's driving force.

Eventually, this acoustic formula substantiates Eric's 'psychological resistance line' that is visually invisible on stage as a wave called sound. As the frequency goes beyond the audible frequency and approaches the ultrasonic range, Eric's positional error suggests that the system has reached the critical point of 'overburdened liberation' that the system cannot handle, which signals the collapse of the existing order with a huge explosion of noise shaking the entire stage.

The Desire Sound Formula is a mechanical definition that transforms the numerical error that occurs when an individual's free will deviates from the standardized path of the system into a frequency, which is an auditory energy, and actualizes the resistance strength of the invisible self as a physical wave. According to the Desire Sound Operation Formula (Dsound ∝√ (∆x)²+∆)²·Vdesire), when (x, y), the real-time foot position of an actor on stage, is a physical distance that deviates from the absolute target coordinates defined by the system, that is, position error, ∆ x and ∆, the sound frequency (Hz) and volume output from the background are amplified exponentially as the absolute value of this error increases.

The vector structure (V) that works importantly here refers to the direction and speed in which the actor is trying to escape the trajectory of the system, the intensity of the 'subjective desire to escape', and the rupture sound generated at the point where this vector value collides with the system's control grid is soon converted to the 'desire sound'.

As a result, the device replaces the psychological pain and resistance that occurs when an actor tries to draw his or her own trajectory without conforming to the digital grid, which is a "vertical order" on stage, with an audible pressure to convey to the audience. As the actor moves away from the center of the system, high-frequency sharp clock sounds and metallic noise overwhelm the stage, which serves as an excellent directing device to sublimate the tragedy of alienation and control felt by individuals in the invisible norms of modern society into an "aesthetics of error."

Desire According to the sound operation formula (Dsound ∝√ (∆x)²+∆)²·Vdesire), when (x, y), the real-time foot position of an actor on stage, is a physical distance that deviates from the absolute target coordinates defined in advance by the system, namely Delta x and Deltay, position errors, the greater the absolute value of this error, the more exponentially the sound frequency (Hz) and volume output from the background are amplified.

As a result, the device delivers to the audience the psychological pain and willingness of resistance that occurs when an actor tries to draw his or her own trajectory without conforming to the digital grid, which is a "vertical order" on stage, by replacing it with audible pressure. As the actor moves away from the center of the system, high-frequency sharp clocks and metallic noise overwhelm the stage, which serves as an excellent directing device to sublimate the tragedy of alienation and control felt by individuals in the invisible norms of modern society into an "aesthetics of error."

The Desire Sound Formula applied to the actor's movement position is an auditory substance of spatial deviation, and the Desire Sound Formula applied to the actor's movement position refers to a mechanical mechanism that converts the expansion of the self and the magnitude of resistance into the high and low of the sound by replacing the distance error (∆x, ∆y) with the real-time acoustic frequency (Hz) when Eric's physical coordinates on stage deviate from the static trajectory defined by the system.

Resonance and collapse are the mechanical consequences of the physical hit of sound waves. The stage equipment and digital grids cannot withstand this high-energy wave and break it into pieces like glass when this frequency eventually exceeds the system's control threshold and reaches the ultrasonic domain. In other words, sound is not just a background sound, but a real destructive weapon that strikes and dismantles the system's physical shape, and it becomes an outlet for energy for the ego to advance into the real world. After overloaded liberation, the collapse of vertical order (Mise-en-sène) occurs in the real world. When the actor moves with extreme disregard for coordinates, the stage is no longer 'Peter Pan's Neverland' but 'an uncontrollable stage device'. The noise and fragments of light generated at this time complete the tragic mise-en-scène, in which the actor's inner desire breaks through external physical barriers (digital grids). Beyond the absolute value of spatial deviation, it becomes an auditory reality of spatial deviation. Accordingly, the desire sound formula applied to the actor's movement position refers to a mechanical mechanism that converts the expansion of the ego and the magnitude of resistance into the pitch of the sound by replacing the error (∆x, ∆y) on the distance with the real-time acoustic frequency (Hz) as the physical coordinates of the actor on stage deviate from the static trajectory defined by the system. The total amount of acoustic energy generated in the stage space is defined by combining the straight distance (displacement) of the actor's departure from the 'static equilibrium' state defined by the acoustic mechanical desire sound operation system, which combines the physical quantity of spatial departure and the speed of will. Through the resonance with the sound of desire, the abstract space is destroyed, and the actor finally rushes toward the deepest prohibited area of the desire structure or the coordinates of 'reality' outside the stage. The frequency reaches the ultrasonic area beyond the human audible range due to the accumulated positional error value of the sound of desire. The strong acoustic pressure generated at this time physically hits the system's logical circuitry, breaking the digital grid on the stage floor like glass, and exploding lighting and mechanical devices, or abstract desire, faces the realist image.

8-35-욕망의 언어적 음향 역학 공식 적용 이미지 디자인 프로세스.jpg

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Al 로봇 우주복 의상 디자인》-31-욕망의 언어적 음향 역학 공식 적용 이미지 디자인 방법론 프로세스 [핵심 방법론: Transducing Intent into Visual Vitality]

욕망의 언어적 음향 역학 공식 적용 디자인 방법론 프러세스(Choi Chul-joo 욕망 공식 결합형)

1. 구조적 정립: 이미지(I)와 욕망(D)의 충돌

최철주 공식에서 I가 시스템이 제시하는 '완전한 이미지(안전 좌표)'라면, D는 이를 변형시키려는 '주체적 욕망(이탈 벡터)'입니다.

• 이미지(I) → (Delta x, Delta y): 시스템의 정적 그리드와 거기서 발생하는 거리 오차.

• 욕망(D) → Vdesire: 고정된 이미지를 탈피하여 새로운 의미(I')를 생성하려는 추진력.

• 치환(d, i) → Dsound: 이들의 상호작용 결과로 발생하는 파열음과 고주파 에너지.

2. 4단계 디자인 프로세스 (Design Process)

Step 1: 욕망의 기표화 (Delineating the Target Grid)

시스템이 설정한 원점 (x_0, y_0)를 '억압된 기표'로 설정합니다.

• 디자인: 차갑고 정교한 청색 디지털 그리드를 배경에 배치합니다. 이는 최철주 욕망 공식의 I(Image) 상태, 즉 시스템의 통제 아래 있는 정적인 상태를 시각화합니다.

• 핵심: 착용자의 발 위치가 이 그리드 위에 정확히 놓일 때는 소리가 '0'인 침묵의 상태를 유지합니다.

Step 2: 이탈의 역학 (Dynamics of Deviation)

착용자가 움직이기 시작할 때 발생하는 위치 오차(Delta)를 '욕망의 발현'으로 간주합니다.

• 디자인: 발이 그리드를 벗어나는 순간, 공식 sqrt (Delta x)^2 + (Delta y)^2 에 따라 그리드 라인이 고무줄처럼 팽팽하게 늘어나거나 찢어지는 효과를 줍니다.

• 메커니즘: 이 이탈의 거리가 최철주 공식의 D...D'(욕망의 전이) 과정이며, 이는 곧 시스템에 가해지는 물리적 인장력으로 표현됩니다.

Step 3: 음향적 치환 (Acoustic Transduction: Dsound)

이탈의 거리와 속도(Vdesire)가 결합하여 '욕망의 소리'가 증폭되는 단계입니다.

• 디자인: 날카로운 고주파 파동(High Frequency Waves)을 시각적 노이즈(Glitch)로 변환합니다. Vdesire가 높을수록 선들의 굵기는 얇아지고 각도는 예리해집니다.

• 효과: 이는 최철주 욕망 공식에서 I(D...D')i가 일어나는 지점, 즉 이미지가 욕망에 의해 타격받아 새로운 의미(i)로 변모하는 '파열적 순간'입니다.

Step 4: 데이터 생명체로의 승화 (Sublimation to Living Data)

최종적으로 시스템의 경고음은 착용자의 '존재 증명'으로 승화됩니다.

• 디자인: 가장 큰 소음(Dsound Peak)이 발생하는 지점에 화려한 색채의 소용돌이(희·노·애·락의 에너지장)를 배치합니다.

• 철학적 완성: 시스템은 이를 '에러'로 기록하지만, 디자인적으로는 '살아있는 데이터(Living Data)'의 탄생으로 연출합니다. 이는 곧 D(I...I')d가 완성되어 주체가 시스템의 수직적 질서를 결핍된 욕망의 유희의 도구로 변모시킨 상태입니다.

Linguistic Acoustic Dynamics of Desire: Design Methodology Process (Choi Chul-joo Desire Formally Combined)

1. Structural Establishment: Conflict between Image (I) and Desire (D)

In the Choi Chul-joo formula, if I is the 'complete image (safety coordinate)' presented by the system, D is the 'subjective desire (deviation vector)' to transform it.

• Image (I) → (Delta x, Delta): The static grid of the system and the distance error that occurs there.

• Desire (D) → Vdesire: The drive to break away from fixed images and create a new meaning (I').

• Substitution (d, i) → Dsound: bursting sound and high frequency energy as a result of their interaction.

2. Design Process of the 4th Stage

Step 1: Delineating the Target Grid

Set the origin (x_0, y_0) set by the system as a 'suppressed signifier'.

• Design: Place a cold, elaborate blue digital grid in the background. It visualizes the I (Image) state of Choi Cheol-joo's Desire Formula, or the static state under the control of the system.

• KEY: When the wearer's foot position is correctly placed on this grid, it will remain silent with sound '0'.

Step 2: Dynamics of Deviation

Position error (Delta) that occurs when the wearer starts to move is considered 'expression of desire'.

• Design: As soon as the foot is off the grid, the grid line is stretched or torn like a rubber band according to the formula sqrt (Delta x)^2 + (Delta y)^2.

• Mechanism: This distance of departure is the D...D' (transition of desire) process of the Choi Chul-joo formula, which is expressed as the physical tensile force applied to the system.

Step 3: 음향적 치환 (Acoustic Transduction: Dsound)

It is a stage in which the distance of departure and the speed (Vdesire) are combined to amplify the 'sound of desire'.

• Design: Converts high frequency waves into visual noise. The higher the Vdesire, the thinner the lines and the sharper the angles.

• Effect: This is the point where I(D...D')i occurs in Choi Cheol-joo's Desire Formula: a "crushing moment" in which the image is struck by desire and transforms into a new meaning (i).

Step 4: Sublimation to Living Data

Finally, the system's warning tone is sublimated to the wearer's 'proof of existence'.

• Design: Place colorful swirls (the energy fields of joy, anger, sorrow, and rock) at the point where the loudest noise (Dsound Peak) occurs.

• Philosophical completion: The system records it as an error, but designally, it creates the birth of Living Data. D(I...I')d has been completed, and the subject has transformed the vertical order of the system into a tool for playing with lack of desire.

keyword

작가의 이전글현대 개념추상리얼리즘 무대미술가｜Stage Artist개념 추상 제품 디자이너｜Product Designer작가의 다음글