현대 개념추상리얼리즘 무대미술가｜Stage Artist

개념추상리얼리즘 무대디자이너｜현대 팝아트 리얼리즘 무대미술가 최철주 6

현대 개념추상 리얼리즘 무대미술가 Scenographer [6] Modern Conceptual Abstrac Realism Stage Artist 현대 팝아트 AAS (Abstract Application Sketch) 리얼리즘 무대미술 디자이너 루이 최철주의 욕망개념 추상디자인 욕망 공식 적용 무대미술디자인 연출한다 Contemporary Concept AAS Pop Stage Artist Choi Chul-joo combines an abstract conceptual approach to the art of others' desire with the design form 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,

최철주 개념추상 무대 미술의 정의는 1. 욕망 개념 추상 디자인: 최철주는 무대 위의 '욕망'이라는 철학적 개념을 추상적인 이미지와 언어 구조로 구현하여, 가역적인 빛 대비를 통해 욕망의 개념을 극적으로 시각화합니다. 2. 현대 팝아트와 결합하기: 팝아트의 디자인 요소와 언어적 이미지 구조를 결합하여 관객은 사건과 공연의 이미지를 통해 연극의 주제나 감정을 경험합니다. 3. 가역적인 빛과 사건성: 인공 조명과 추상적인 디자인을 사용하여 연극의 주제나 감정을 이미지와 패턴을 통해 극적인 사건 이미지의 시간성에 따라 연출하고, 무대 자체를 개념적인 설치 예술로 확장합니다. 4. 욕망 구조의 사회적 반영: 단순한 미적 장식보다는 현실을 있는 그대로 재현하기보다는 기하학적 형태, 색채, 빛의 대비를 통해 무대 공간의 추상적인 욕망 구조를 사회 구조에 반영하여 철학적 무대 예술을 지향합니다. Choi Chul-joo's definition of the conceptual abstract of stage art is as follows 1. Desire Concept Abstract Design: Choi Chul-joo embodies the philosophical concept of 'desire' on stage in an abstract image and language structure, which dramatically visualizes the concept of desire through reversible light contrast. 2. Combining with contemporary pop art: Combining pop art's design elements with linguistic image structures, the audience experiences the theme or emotion of the play through images of events and performances. 3. Reversible Light and Eventuality: Using artificial lighting and abstract design, the theme or emotion of a play is directed according to the temporality of a dramatic event image through images and patterns, and the stage itself is extended to conceptual installation art. 4. Social Reflection of Desire Structure: Rather than just aesthetic decoration, rather than reproducing reality as it is, we aim for philosophical stage art by reflecting the abstract desire structure of stage space in social structure through the contrast of geometric form, color, and light.

무대 예술 디자인은 인공 조명으로 극적인 퍼포먼스 이미지를 연출합니다. 현대 콘셉트 AAS 팝 무대 예술가 루이 최철주는 문화 및 디자인 박사로서 "무대 디자인(미진사, 1997-09-30, ISBN: 9788940801918)"의 저자입니다. 그는 타인의 욕망 예술에 대한 추상적 개념적 접근과 무대 디자인 형식 및 팝아트의 언어적 추상 이미지를 결합합니다. 그의 욕망 개념, 즉 개념 추상 미술이 등장하며, 현대 무대 예술은 형이상학적, 철학적 빛에서 강조되는 의미의 언어적 개념과 상충되는 무대 예술과 무대 디자인으로 AI 인공 조명으로 극적인 퍼포먼스 이미지를 연출합니다. Stage art design produces dramatic performance images with artificial lighting. Contemporary Concept AAS pop stage artist Louis Choi Chul-joo is the author of "Stage Design (Mijinsa, 1997-09-30, ISBN : 9788940801918)", as a Ph.D. in culture and design. He combines abstract conceptual approach to other people's desire art with stage design forms and linguistic abstract images of pop art. His concept of desire, or conceptual abstract art, appears, and contemporary stage art produces dramatic performance images with AI artificial lighting with stage art and stage design that conflict with the linguistic concept of meaning emphasized in metaphysical and philosophical light. / 현대미술평론가 루이 최철주는 사진 만화 미술 공예 디자인의 미적 가치 과정의 예술성을 검증하고 시각 예술 이론을 통해 작품의 의미에 접근하는 현대미술 개념 비평가다 Contemporary Art Critic Louis Choi Chul-joo is a contemporary conceptual art critic who validates the artistry of the aesthetic value process of photographic cartoon art craft design and approaches the meaning of the work through visual art theory:

회화 언어 구조란 추상적 욕망의 이미지가 욕망 개념의 언어적 의미 구조인 것처럼 여겨지는 시선의 현실상이다. 무대미술평론가 최철주는 현대미술비평과 함께 개념추상 리얼리즘 무대디자인이라는 개념으로 현대무대미술비평의 미적 가치, 프로세스, 예술성에 접근하고 있다. 그의 무대미술비평은 사진, 만화, 미술, 디자인의 예술성이 언어적 문법 구조로 작품의 의미에 접근해 현대 팝 미술개념의 현실을 비판하는 시각예술 이론을 가리킨다,/ 현대 무대미술 비평가 루이 최철주의 무대디자인 이야기는 시각무대예술을 통한 현대 개념의 추상적 욕망을 언어적 의미를 시각화한다. 이처럼 무대미술, 사진, 만화, 미술, 디자인의 미적 가치, 과정과 예술성을 검증하는 최철주 현대 무대미술의 추상예술이론으로 작품의 의미에 접근하는 현대 무대디자 작품은: 오페라 <월광의 단두대> "The Guillotine of Moonlight"

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《월광의 단두대》-1

무대디자인 미학 평론 (Product Design Aesthetic Critique by Choi Chul-joo):

오페라 <월광의 단두대>를 최철주의 욕망 음향 역학 공식 Position Error(∆x, ∆y) → Sound Frequency(Hz)↑ 으로 수학적 구조로 오페라의 도입부인 '0.00Hz의 아침'에 그의 욕망 공식 D(I...I')d = I(D...D')i에서 도출된 '상징적 공허의 시각화'를 극한으로 밀어붙인 무대 미학의 정수를 보여주는데, 무대 전체를 지배하는 화이트 그리드는 단순한 배경이 아니라 주체의 탈주를 원천 봉쇄하는 기표의 감옥이자 고정된 이미지(I)의 물리적 구현체이며, 여기서 흐르는 0.00Hz의 정적은 소리의 부재가 아니라 주체의 욕망이 상징계의 질서에 의해 완전히 거세된 상태인 '의미의 영도(Zero degree of meaning)'를 청각적으로 치환한 것이다. 평론가 최철주의 관점에서 이 무대는 인간을 데이터 생명체로 환원시키는 기계적 합리주의에 대한 날카로운 미학적 고발이며, 관객으로 하여금 매끄러운 대칭성 뒤에 숨겨진 '기표의 폭력'을 목격하게 함으로써 향후 전개될 톱니파(Sawtooth) 형태의 파열과 글리치 미학이 단순한 오류가 아닌 실존적 회복의 유일한 경로임을 암시하는 철학적 복선으로 기능한다.

연극 <AI 피터팬>에서 구현되는 ‘욕망 사운드 공식’은 단순한 기술적 설정을 넘어, 배우의 신체적 움직임과 시스템의 수직적 질서 사이에서 발생하는 실존적 갈등을 수치화하고 청각화하는 핵심적인 미학 장치입니다.

시계 소리를 단순한 효과음이 아닌, 디지털 구조가 육체적 실재를 포획할 때 발생하는 비명으로 해석한다. 2050년의 <AI 피터팬> 무대는 추상화된 좌표계가 인간의 유기적 움직임을 규격화하는 과정을 '유령선'이라는 은유를 통해 극대화하며, 에릭이 발 위치를 인식시키지 못하는 그 '오차'야말로 시스템의 균열을 드러내는 유일한 실재적 저항의 순간임을 역설한다. 이것은 가상과 현실이 중첩된 현대 사회에서 개인의 주체성이 어떻게 알고리즘의 '수직적 질서' 아래 함몰되는지를 보여주는 비극적 미장센이며, 결국 예술은 그 치명적인 오차 속에서만 비로소 인간의 냄새를 풍길 수 있다는 파괴적 미학을 선포하고 있는 것이다.

'욕망 좌표 음향 공식'은 에릭의 실시간 좌표가 시스템이 강제하는 규격화된 경로로부터 얼마나 벗어났는지를 나타내는 '위치 오차(∆x, ∆y)' 값을 물리적인 '음향 주파수(Hz)'의 상승으로 치환하여, 자아의 이탈 강도를 청각적 긴장감으로 수치화한 정의입니다.

이 공식의 핵심은 시스템이 허용하는 안전 궤도에서 에릭의 자아가 멀어질수록, 즉 시스템의 통제를 벗어나려는 욕망의 물리적 거리가 커질수록 그에 비례하여 발생하는 데이터의 마찰음이 고주파의 영역으로 전이된다는 점에 있습니다. Position Error(∆x, ∆y) → Sound Frequency(Hz)↑ 라는 수학적 구조는, 단순한 위치의 차이를 넘어서 시스템의 질서를 위협하는 '불협화음의 증폭'을 의미합니다.

피터 펜 에릭이 무대 중앙의 결정론적 경로를 이탈해 자신만의 좌표로 발을 내디딜 때, 시스템은 이 오차를 즉각적으로 감지하며 이를 고음의 경고음이나 날카로운 전자음의 형태로 출력합니다. 이는 마치 현악기의 줄을 한계치까지 팽팽하게 잡아당길 때 소리가 날카로워지는 것과 같은 원리로, 시스템의 억제력과 에릭의 추진력이 충돌하며 빚어내는 '데이터적 비명'이라고 할 수 있습니다.

결국 이 음향 공식은 무대 위에서 시각적으로 보이지 않는 에릭의 '심리적 저항선'을 소리라는 파동으로 실체화합니다. 주파수가 가청 주파수를 넘어 초음파 영역에 가까워질수록 에릭의 위치 오차는 시스템이 감당할 수 없는 '과부하적 해방'의 임계점에 도달했음을 암시하며, 이는 곧 무대 전체를 뒤흔드는 거대한 소음의 폭발과 함께 기존 질서가 붕괴되는 신호탄이 됩니다.

'욕망 사운드 공식'은 개체의 자유의지가 시스템의 규격화된 경로를 벗어날 때 발생하는 수치적 오차를 청각적 에너지인 주파수로 변환하여, 보이지 않는 자아의 저항 강도를 물리적 파동으로 실체화한 역학적 정의입니다. 욕망 사운드 작동 공식 (Dsound ∝√(∆x)²+∆y)² · Vdesire) 에 따르면, 무대 위 배우의 실시간 발 위치인 (x, y)가 시스템이 사전에 정의한 절대적 목표 좌표로부터 이탈하는 물리적 거리, 즉 위치 오차(Position Error)인 ∆x와 ∆y가 발생할 때, 이 오차의 절댓값이 커질수록 배경에서 출력되는 소리 주파수(Sound Frequency, Hz)와 음량(Volume)은 기하급수적으로 증폭됩니다.

여기서 중요하게 작용하는 벡터 구조(V)는 배우가 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 배우가 무대 위의 '수직적 질서'인 디지털 그리드에 순응하지 않고 자신만의 궤적을 그리려 할 때 발생하는 심리적 고통과 저항의 의지를 청각적인 압박감으로 치환하여 관객에게 전달합니다. 배우가 시스템의 중심에서 멀어질수록 고주파의 날카로운 시계 소리와 금속성 노이즈가 무대를 압도하게 되며, 이는 현대 사회의 보이지 않는 규범 속에서 개인이 느끼는 소외와 통제의 비극을 '오차의 미학'으로 승화시키는 탁월한 연출적 장치로 기능하게 됩니다.

욕망 사운드 작동 공식 (Dsound ∝√(∆x)²+∆y)² · Vdesire) 에 따르면, 무대 위 배우의 실시간 발 위치인 (x, y)가 시스템이 사전에 정의한 절대적 목표 좌표로부터 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.

여기서 중요하게 작용하는 벡터 구조(V)는 배우가 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 배우가 무대 위의 '수직적 질서'인 디지털 그리드에 순응하지 않고 자신만의 궤적을 그리려 할 때 발생하는 심리적 고통과 저항의 의지를 청각적인 압박감으로 치환하여 관객에게 전달합니다. 배우가 시스템의 중심에서 멀어질수록 고주파의 날카로운 시계 소리와 금속성 노이즈가 무대를 압도하게 되며, 이는 현대 사회의 보이지 않는 규범 속에서 개인이 느끼는 소외와 통제의 비극을 '오차의 미학'으로 승화시키는 탁월한 연출적 장치로 기능하게 됩니다.

배우의 움직임 위치에 적용된 욕망 사운드 공식은 공간적 이탈의 청각적 실체화하여서 '배우의 움직임 위치에 적용한 욕망 사운드 공식'은 무대 위 에릭(배우)의 물리적 좌표가 시스템이 규정한 정적 궤도에서 벗어날 때, 그 거리상의 오차(∆x, ∆y)를 실시간 음향 주파수(Hz)로 치환함으로써 자아의 확장과 저항의 크기를 소리의 높낮이로 환산하는 역학적 메커니즘을 의미합니다.

음파의 물리적 타격으로 한 역학적 결과는 공명과 붕괴를 초래한다. 최종적으로 이 주파수가 시스템의 통제 임계값을 초과하여 초음파 영역에 도달하면, 무대 장치와 디지털 그리드는 이 고에너지 파동을 견디지 못하고 유리처럼 산산조각 나게 됩니다. 즉, 소리는 단순한 배경음이 아니라 시스템의 물리적 형체를 타격하고 해체하는 실체적인 파괴 병기이자, 자아가 현실 세계로 나아가기 위한 에너지의 분출구가 되는 것입니다./ 글. 현대 디자인평론가 최철주 (무대 디자이너 & 문화디자인박사)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-2

Stage Design Aesthetic Critique by Choi Chul-joo

Choi Chul-joo's Desire Acoustical Dynamics Formula Position Error (∆x, ∆) → Sound Frequency (Hz) ↑ shows the essence of stage aesthetics that pushed the "visualization of symbolic emptiness" derived from the Desire Formula D(I...I')d = I(D...D')i to the limit of the opera's introduction to the "Morning of 0.00Hz," which is a mathematical structure. The white grid that dominates the entire stage is not just a background, but a prison of signifiers that block the escape of the subject and a physical embodiment of a fixed image (I), and the static of 0.00Hz flowing here is not the absence of sound but an aural substitution of "zero degree of meaning," in which the subject's desire is completely castrated by the order of the symbolic world. From the perspective of the critic Choi Chul-joo, this stage is a sharp aesthetic accusation against mechanical rationalism that reduces humans to data creatures, and functions as a philosophical double track that suggests that future rupture and glitch aesthetics are not just errors but the only path to existential recovery by making the audience witness the "violence of signifiers" hidden behind smooth symmetry.

The 'desire sound formula' implemented in the play "AI Peter Pan" is a key aesthetic device that goes beyond simple technical settings and quantifies and audibly the existential conflict that arises between the actor's physical movement and the vertical order of the system.

The 'ticking clock sound' in this scene not as a simple sound effect, but as a scream emitted when the digital structure captures physical reality. The stage of the 2050 <AI Peter Pan> maximizes the process where an abstracted coordinate system standardizes human organic movement through the metaphor of the 'Ghost Ship.' Choi emphasizes that the 'error'—Erik’s failure to be recognized by the grid—is the only moment of authentic resistance that reveals the cracks in the system. This is a tragic mise-en-scène illustrating how individual agency is submerged under the 'vertical order' of algorithms in modern society, ultimately proclaiming a subversive aesthetic: that art can only truly exude the scent of humanity within those fatal, systemic glitches.

Desire coordinate acoustic formula is a definition of the degree of deviation of the ego by replacing the 'position error (∆ x, ∆y)' value, which indicates how far Eric'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.

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 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./ Writing. Choi Chul-joo, Contemporary Design Critic (a Stage designer & Doctor of Design Culture Design)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-3-무대 평면도 (Stage Floor Plan): - 무대장치 아이디어 연필 스케치 (Conceptual Sketch Description)

• 중앙 수면 캡슐 (The Origin): 무대 중앙에는 루나의 수면 캡슐이 수직으로 세워져 있습니다. 이는 단순한 침대가 아니라, 인체를 데이터로 규격화하는 '기표의 틀'입니다. 캡슐 표면에는 미세한 청색 LED 라인이 흐르며 시스템 상태를 표시합니다. • 그리드 플로어 (The Grid): 바닥은 반사율이 높은 투명 폴리머 재질이며, 그 아래에 1m 간격의 정확한 격자무늬 조명이 심어져 있습니다. 시민들이 발을 딛을 때마다 해당 좌표의 조명이 강해지며 '위치 데이터의 가시화'를 표현합니다. • 무한 거울 벽면 (Infinite Reflection): 무대 좌우 측면은 거대하고 매끄러운 거울로 구성되어, 코러스들의 행진이 무한히 반복되는 것처럼 보이게 합니다. 이는 개성이 거세된 '복제된 기표들'을 상징합니다. • 상단 모니터링 링 (The Eye of Theo): 무대 상공에는 원형의 거대한 반투명 스크린이 떠 있습니다. 이곳에는 실시간 심박수, 시선 추적 데이터(Vdesire), 그리고 0.00Hz의 정적 파형이 투사되어 테오의 감시 시점을 관객에게 공유합니다. - Stage equipment idea pencil sketch (Conceptual Sketch Description) • Central Sleep Capsule (The Origin): Luna's Sleep Capsule is vertically erected in the center of the stage. It's not just a bed, but a 'framework of signs' that standardizes the human body as data. Fine blue LED lines flow on the capsule's surface to indicate the state of the system. • The Grid: The floor is made of a highly reflective transparent polymer material with accurate grid lighting spaced 1 m apart. Every time citizens step in, the coordinate lighting intensifies and represents 'visualization of location data'.• Infinite Reflection: The left and right sides of the stage consist of giant, smooth mirrors, making the march of the choruses seem to repeat itself indefinitely. It symbolizes the 'replicated signifiers' with their intensified individuality. • The Eye of Theo: A giant, circular, translucent screen floats above the stage. It is projected with real-time heart rates, eye-tracking data (Vdesire), and a static waveform of 0.00Hz to share Theo's monitoring point with the audience.

개념 추상주의 AAS 무대 디자인 방법론

1. 개념 추상주의 AAS 무대 개념은 사실주의 이미지를 재현하여 비이데올로기적 형태로 개념 대상으로 추상화한 무대디자인 이미지입니다. 이 이미지는 살의 존재를 숨기는 가상적 공연 이미지로 평면으로 인식되며, 개념 추상화에서 욕망의 구조로서 '나팔꽃', '죽나무숲', '연못'을 작화 배경으로 합성된 구조물로, 사실주의 무대 일러스트 이미지를 렌더링하여 실제 구조물처럼 보입니다.

여기서 추상적 사실주의 무대디자인은 실제 구조와 이미지가 다르더라도 동일한 언어적 의미를 말할 때 언어적 의미에서 창의성과 자율성을 지닌 실존적 사실주의 대상 개념을 추상과 유사한 색상과 크기로 재생산합니다. 따라서 언어적 의미에서 창의성과 자율성을 지닌 실존적 개념 추상적 사실주의 무대미술의 개념은 타인의 욕망에 의해 억압된 무의식을 통해 개념적 추상적 사실주의 대상의 언어적 의미로서 존재의 또 다른 이미지를 구성합니다.

따라서 AAP 소설 줄거리는 무대디자인의 내용과 대사로 설정되며, 무대장치는 상징적 세계로 들어온 비현실적 실존 주체의 방향을 나타내는 벡터인 사실주의 이미지의 개념적 형태이며, 현실적인 구조가 결여된 이미지에서 소외된 실존적 이미지의 개념을 정의하여 이미지를 형성합니다.

시나리오 플롯은 다양한 형태의 언어적 의미를 가진 이미지를 의미 구조로 동의어화하여 해결해야 할 방향을 표현하는 질서 있는 벡터입니다. 사후 무대디자인의 본질인 공연 콘티의 장면 이미지로 표현된 분할을 통해 개념주의적 무대디자인이 실존적 주체로 드러납니다.

따라서 개념적 추상 현실주의 AAS 무대디자인 개념은 동의어로 의미 있는 시나리오 플롯으로 구성된 무대디자인의 공연 이미지의 선을 의식적으로 선택하여 언어적 의미의 예비 단계로 예측할 수 있도록 하여 개념적 현실주의를 무대장치로 포괄적이고 즉각적으로 추상화하는 무대디자인 개념입니다.

2. 개념 추상적 사실주의 무대디자인의 언어적 의미 구조에 대한 무대장치 스케치는 "나팔꽃", "죽나무 숲", 그리고 욕망 구조로서의 "연못"의 작화 이미지와 겹쳐지며, 현실주의적 이미지를 언어적 의미로서의 알레고리로 연결하는 장치 스케치는 대상이 추상적인 대상에서 가역적인 빛의 그림자로 순간적인 욕망 개념의 전환인 가역적인 빛 구조입니다.

무대장치 스케치에서 가역적인 시간성으로 추상화된 객체의 위치를 이동시켜 그 의미를 회화적 언어 구조로 추상화합니다.

추상적 무대는 시나리오 플롯의 움직임을 통해 필요성 자의식의 표시로서 시간성과 연결되며, 무대장치의 언어적 의미로 번역된 기호 이전의 감각 구조를 드러내고, 무대장치 스케치는 초기 개념 미술의 형성적 현실로 기능하는 추상적인 공간에 배치됩니다.

추상적인 공간 무대 구조에서 원근 객관성은 수면을 위한 또 다른 시선 구조이며, 객체와 무대장치 스케치는 가역적인 빛이 사실주의 이미지와 겹쳐진 객체로 제한되는 무대 공간 범위와 대조됩니다.

이것은 상징적 추상 세계에서 평면적인 형태와 색상으로 개념적 추상화 속에서 무대 이미지 스케치를 반복하여 언어적 의미로서 객체의 존재를 드러내는 언어적 의미 구조의 무대장치 스케치이며, 나팔꽃 작화과 객체 구조를 현실로 묘사하는 알레고리를 통과하는 언어적 의미 구조의 무대장 스케치입니다.

3. 개념적 추상주의 무대디자인의 언어적 의미에서 이미지 구조는 타인의 눈에 빛의 한 점으로 드러나는 추상적 사실주의 객체이며, 추상적 객체는 추상적 의미와 동일하게 나타나는 실존적 사실주의 이미지를 가진 객체의 시선, 욕망의 시선 체계에서 드러나는 미적 욕망 구조를 가진 왜소한 이미지를 식별하는 등 철학적 장치입니다. 무대 이미지는 기하학적 접선과 추상적 나팔꽃 작화를 무의식적인 존재로 표현하는 이미지를 만드는 원근 시각적 구조입니다. 타인의 욕망을 반영한 거울 이미지로 해석되어 관람자가 동시에 응시하고 있다는 환상적인 개념과 연결되며, 객체의 반응 시선은 관람자의 위치에 따라 달라지는 광학적 사실주의 공간을 만들어냅니다.

나팔꽃 작화의 자리는 욕망의 개념이 반복되면서 추상화되는 현실주의의 구성을 구성하는 가역적 반응의 이미지로 추상화됩니다. 즉, 가역적인 빛을 응시하는 나팔꽃 작화의 그림자 이미지가 가역적인 시간성에 따라 순서대로 객체에 표시되고, 개념적 추상화 현실주의 추상화의 언어적 의미의 무대디자인 이미지는 동일한 시간성에서 분할된 객체의 가역적인 명암으로 구조화됩니다. 무대디자인은 현실주의 공간의 관점과 객체의 추상적인 언어적 의미를 일치시키며, 욕망의 개념적 관점에서는 AAP 시나리오 플롯의 시간성에 따라 추상적이고 보이지 않는 객체가 시선 경로로 나타납니다.

이는 새로운 주제를 통해 미적 가치, 인간의 욕망, 언어적 의미 구조 간의 긴장과 조화를 통해 욕망의 구조와 현실의 미적 개념을 현실적인 이미지로 시각화하지만, 무대디자인의 대상으로 구현됩니다.

4. 개념 추상적 사실주의 AAS 무대디자인의 실현은 최철주의 욕망 공식에 명시된 추상적 대상을 개념화하여 욕망의 이미지를 설계함으로써 타인의 욕망을 넘어 언어적 의미를 문법적으로 해석함으로써 개념 추상적 사실주의 대상의 무대디자인 이미지가 실현되는 조건(i/d)을 구두로 해석할 수 있는 기회입니다. 또한 욕망의 주체로서의 개념 추상화를 현실주의적 무대디자인 이미지로 전이할 때 욕망의 주체는 추상적 구조가 무엇을 원하는지 스스로 묻고 추상적 개념의 실제 이미지로서 특정 대상을 선택하여 개념 추상적 사실주의 이미지가 무대디자인에 현실로 도달하도록 합니다

개념 추상주의 무대장치 제작 과정에서 왜곡된 나팔꽃, 대나무 숲, 연못 등의 작화 이미지를 반복적으로 결합한 사물의 무대 디자인을 특징짓는 상징적 행위의 의미를 나타냅니다. 여기서의 무대디자인 이미지는 사물의 시각적 현상이 아니라 무의식의 흐름과 상징이 현실적 이미지로 전환되는 과정을 시각화한 무대 장치이며, 나팔꽃 작화를 모방한 추상과 장소의 상수체로서의 개념 무대디자인 대상은 개념 추상적 사실주의의 이미지를 상징하는 언어의 의미입니다.

이처럼 AAS 무대디자인에서 '나팔꽃', '죽림', '연못' 등의 작화 이미지를 개념적 욕망 구조로 배경에 넣어 인간이 삶에서 경험할 수 없는 추상적인 장소를 만들고, 언어적 의미 체계에서 균열된 추상 구조를 욕망의 대상으로 추상화하고 실현하기 위해 실존적 욕망의 개념에서 멈춘 만화를 현실적인 무대디자인 이미지로 표현했습니다.

따라서 AAS 무대디자인 이미지는 가역적인 빛의 음영을 통해 현실을 숨기거나 드러내거나, 즉 과거의 빛이 지속 가능한 현재를 무대에 조명함으로써 인간 존재의 본질과 인식의 한계를 시각적으로 표현합니다. 이는 추상적 과거의 빛이 현재의 인공 조명과 동일한 구조로 실제 무대장치 이미지에 전달되고, 무의식적 과거의 형성 흔적을 타인의 욕망으로 대체하는 개념적 추상적 리얼리즘 무대디자인 이미지가 추상화되는 효과입니다.

"나팔꽃", "죽나무 숲", 그리고 "연못" 등의 작화 이미지를 개념적 욕망 구조로 시각화한 대상은 언어적 의미와 실제 이미지의 충돌을 통해 욕망 구조를 드러냅니다.

이것은 형성 구조의 철학적 및 언어적 이미지를 전달하고, 인간 존재의 본질과 인식의 한계를 은유로 재현하는 철학적 이미지로 디자인된 개념적 추상 현실주의 AAS 무대디자인이 되는 장치입니다./ 글. 현대 무대미술평론가 최철주 (무대디자이너 & 문화디자인박사)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-4-제작도 및 기구 상세 (Technical &Construction Drawing)

- 아이디어 스케치 (Concept Idea Sketch)

이 스케치는 고전 오페라 하우스의 화려함과 그 내부에 삽입된 차가운 미래 시스템의 '충돌'을 시각화하는 데 집중했습니다.

• 프레임의 충돌: 도면의 가장자리는 바로크 양식의 화려한 조각과 금박 장식 포털(Proscenium)로 둘러싸여 있지만, 그 안쪽 무대는 날카로운 직선과 그리드로 이루어진 이질적인 공간입니다.

• 중앙 단두대 캡슐: 무대 중앙 소실점에는 거대한 단두대 형상의 구조물이 수직으로 솟아 있습니다. 루나가 잠든 캡슐이 마치 단두대의 칼날 위치에 위태롭게 매달려 있어, 안락함 속에 숨겨진 억압을 상징합니다.

• 이동식 큐브: 코러스들이 탑승한 유리 큐브들이 자기 부상 레일을 따라 미끄러지듯 이동하며 곡선적인 동선을 만들어냅니다. 벨벳 드레스를 입은 과거의 인물들이 유리 큐브라는 기계적 장치에 갇혀 있는 모순을 표현했습니다.

• 스카이 넷 배경: 무대 깊숙한 곳의 곡면 스크린에는 베토벤의 '월광' 파형이 디지털 데이터 스트림과 뒤섞이며 거대한 그물처럼 투사됩니다.

- Concept Idea Sketch

The sketch focused on visualizing the splendor of the classical opera house and the 'collision' of the cold future system embedded within it.

• Crash of Frames: The edges of the painting are surrounded by baroque ornate sculptures and a gold-foil decorative portal, but the inside stage is a heterogeneous space with sharp straight lines and grids.

• Central Guillotine Capsule: At the center of the stage, a huge guillotine-shaped structure rises vertically. The capsule that Luna fell asleep hangs precariously from the position of the guillotine's blade, symbolizing the oppression hidden in its comforts.

• Movable Cubes: Glass cubes with chorus on board glide along magnetic levitation rails, creating a curved line. Past figures in velvet dresses expressed a contradiction of being trapped in a mechanical device called a glass cube.

• SkyNet Background: On curved screens deep in the stage, Beethoven's 'Moonlight' waveforms are mixed with digital data streams and projected like giant nets.

사실주의 무대 디자인이 구현한 개념 추상 시나리오, AAP 시나리오는 개념을 언어적 의미의 이미지로 추상화하고 종교적 구세주의 무대 예술에서 분리된 추상적 구조를 실존적 사실주의 무대 디자인의 이미지로 변환합니다. 이는 무대 장치의 흔적을 통해 시간성과 추상적 공간의 여백에 존재적 실재감을 표현하는 무대 디자인 형식이 됩니다. 이 형식은 지각 이전의 구조, 즉 언어적 의미 이전의 희극적 이미지를 다양한 시간, 공간, 회화적 형식에 걸쳐 드러냄으로써 현대 무대 예술의 문학적 성격을 초월합니다.

색채는 현상적 이미지에 대한 다양한 오해를 불러일으킬 수 있습니다. 글쓰기는 삶의 이야기를 바탕으로 시나리오를 구성합니다. 바람은 가벼운 물체를 흔듭니다. 나무 위에서도 두꺼운 줄기는 가만히 있고 나뭇가지는 흔들립니다. 그러나 빛에 의해 확산된 색조는 태양의 위치에서 발산합니다. 물체의 순간적인 떨림으로 인해 만들어진 풍경이 진정으로 존재하지 않는다고 느낀 낭만주의 화가는 대신 현대 미술이 되는 얼어붙은 프레임을 발견합니다. 이 얼어붙은 장면은 최철주의 개념적 추상 리얼리즘을 통해 무대 예술과 시나리오의 스토리라인으로 배열됩니다.

Conceptual Abstract Scenario rendered by Realist Stage Design, AAP Scenario abstracts the concept as an image of linguistic meaning and transforms the divided abstract structure from the stage art of the religious savior into the image of existential Realist Stage Design. This becomes a stage design form that expresses existential Realism through the traces of the stage equipment in the margins of temporality and abstract space. This form transcends the literary character of contemporary stage art by revealing the structure before perception, that is, the comical image before the linguistic meaning, across various time, space, and pictorial forms.

Colors can cause different misunderstandings of phenomenal images. Writing constructs scenarios based on the story of life. The wind shakes light objects. Even on a tree, thick stems stay still and branches shake. However, the hues diffused by light radiate from the position of the sun. Feeling that the landscape created by the momentary tremors of objects does not truly exist, a Romantic painter finds a frozen frame that becomes modern art instead. This frozen scene is arranged into a storyline of stage art and scenarios through Choi Chul-joo's conceptual abstract realism.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-5

- 공간 구성 및 시각적 대비 (Visual Contrast)

• 프레임의 충돌: 오페라 하우스 특유의 화려한 금박 장식 포털(Proscenium)과 대비되도록, 무대 내부에는 극도로 단순하고 차가운 화이트 LED 그리드 구조물을 삽입합니다. 이는 과거의 예술적 낭만과 미래의 기계적 억압이 충돌하는 시각적 긴장을 유발합니다. • 재질감: 벨벳과 금속, 유리와 홀로그램 스크린을 교차 사용하여 '살아있는 유기체'로서의 인간과 '고정된 데이터'로서의 시스템을 대비시킵니다.

- Spatial Configuration and Visual Contrast

• Crash of Frames: To contrast with the opera house's signature spectacular gilded portal (Proscenium), an extremely simple and cold white LED grid structure is inserted inside the stage. This creates a visual tension where past artistic romances and future mechanical oppression collide. • Materiality: cross-use velvet and metal, glass and holographic screens to contrast humans as 'living organisms' and systems as 'fixed data'.

Conceptual Abstractionism AAS Stage Design Methodology

1. Concept Abstractionism The AAS (Abstract Application Sketch) stage concept is a stage design image that reproduces a realist image and abstracts it as a conceptual object in a non-ideological form. This image is recognized as a plane as a virtual performance image that hides the existence of flesh, and in conceptual abstraction, it is a structure synthesized with 'Morning glory', 'Bamboo Forest', and 'Pond' as a background of desire, and it looks like a real structure by rendering a realist stage illustration image.

Here, the abstract realism stage design reproduces the concept of an object of existential realism with creativity and autonomy in a linguistic sense when speaking the same linguistic meaning, even if the actual structure and image are different. Therefore, the concept of existential concept with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of an object of conceptual abstract realism through the unconsciousness suppressed by the desires of others.

Thus, the AAP novel plot is set as the content and dialogue of the stage design, and the stage equipment is a conceptual form of realist images, a vector representing the direction of unrealistic existential subjects that have entered the symbolic world, and forms images by defining the concept of existential images that are alienated from images that lack realistic structures.

The scenario plot is an orderly vector that expresses the direction to be solved by synonymizing images with various forms of linguistic meaning into semantic structures. Conceptualistic stage design is revealed as an existential subject through segmentation expressed in the scene image of performance conti, the essence of post-stage design.

Therefore, the concept of conceptual abstract realism AAS stage design concept is a stage design concept that comprehensively and immediately abstracts conceptual realism as a stage device by consciously selecting the line of performance image of the stage design composed of synonyms and meaningful scenario plots so that it can be predicted as a preliminary stage in linguistic meaning.

2. Conceptual Abstract Realism Stage designs' step-by-step sketches of linguistic semantic structures overlap with animated images from "Fond" as a structure of "Morning glory" "Bamboo Forest," and desire. A device sketch that links realist images into a verbal fable is a reversible light structure in which an object momentarily switches from an abstract object to a reversible shadow of light.

By shifting the position of an abstracted object whose temporality is reversible in a step sketch, its meaning is abstracted into a pictorial language structure.

The abstract stage is connected to temporality as a sign of necessity self-consciousness through the movement of the scenario plot, revealing a pre-symbolic sensory structure translated into the linguistic meaning of the stage device, and the stage device sketches are placed in an abstract space that functions as the formative reality of early conceptual art.

In abstract spatial stage structures, perspective objectivity is another gaze structure for sleep, and objects and stage sketches contrast with stage space ranges where reversible light is limited to objects superimposed with realistic images.

This is a stage sketch of a linguistic semantic structure that reveals the existence of objects in linguistic meaning through repetitive stage image sketches from conceptual abstractions of flat forms and colors in the symbolic abstract world, and a stage sketch of a linguistic semantic structure that passes through an allegory depicting morning glory paintings and object structures in reality.

3. Conceptual Abstractionism In the linguistic sense of stage design, the image structure is an abstract realist object that is revealed as a point of light in the eyes of others, and the abstract object is a philosophical device, such as identifying a dwarf image with an aesthetic desire structure revealed in the gaze system of desire and an object with an existential realist image that appears the same as the abstract meaning. The stage image is a perspective visual structure that creates an image that expresses geometric tangent and abstract morning glory as unconscious beings. It is interpreted as a mirror image reflecting the desires of others and connected with the fantastic concept that viewers are staring at it at the same time, and the object's reaction gaze creates an optical realist space that varies depending on the viewer's position.

The spot of an morning glory portrait is abstracted into an image of a reversible reaction that constitutes the composition of realism, in which the concept of desire is abstracted as it repeats. In other words, the shadow images of the morning glory portrait staring at the reversible light are displayed on the object in order according to the reversible temporality, and the stage design images in the linguistic sense of conceptual abstraction realism abstraction are structured in the reversible light and shade of the divided object at the same temporality. Stage design matches the perspective of realist space with the abstract linguistic meaning of objects, and from the conceptual point of view of desire, abstract and invisible objects appear as gaze paths depending on the temporality of the AAP scenario plot.

It visualizes the structure of desire and the aesthetic concept of reality as a realistic image through tension and harmony between aesthetic values, human desires, and linguistic semantic structures through new themes, but is embodied as an object of stage design.

4. Conceptual Abstract Realism The realization of the AAS stage design is an opportunity to verbally interpret the conditions (i/d) under which the stage design image of the object of conceptual abstract realism is realized by grammatically interpreting the linguistic meaning beyond the desires of others by conceptually designing the image of desire by conceptualizing the abstract object specified in Choi Cheol-joo's desire formula. In addition, when transferring conceptual abstraction as a subject of desire to a realistic stage design image, the subject of desire asks itself what the abstract structure wants and selects a specific object as a real image of an abstract concept so that the conceptual abstract realist image reaches the stage design as reality

Concept Abstractionism represents the meaning of symbolic actions that characterize the stage design of objects that repeatedly combine images of distorted morning glory, bamboo forest, and pond during the production of stage equipment. The stage design image here is not a visual phenomenon of an object, but a stage device that visualizes the flow of unconsciousness and the process of converting symbols into realistic images, and the concept of stage design as a constant body of abstraction and place imitating morning glory painting is the meaning of language that symbolizes the image of conceptual abstract realism.

In this way, in AAS stage design, paintings such as "Morning glory" "Bamboo Tree" and "Pond" are put in the background as a conceptual desire structure to create an abstract place that humans cannot experience in life, and cartoons that stopped from the concept of existential desire are expressed as realistic stage design images in order to abstract and realize the abstract structure cracked in the linguistic meaning system as an object of desire.

Therefore, the AAS stage design image visually expresses the nature of human existence and the limitations of perception by concealing or revealing reality through reversible shades of light, that is, by illuminating the stage in the present where the light of the past is sustainable. This is the effect of abstracting the conceptual abstract realism stage design image, in which the light of the abstract past is transmitted to the actual stage device image in the same structure as the current artificial lighting, and the formation trace of the unconscious past is replaced by the desire of others.

The object visualizing the images of paintings such as "Morning glory", "Bamboo Forest", and "Pond" as a conceptual desire structure reveals the desire structure through the conflict between the linguistic meaning and the actual image.

This is a device that becomes a conceptual abstract realism AAS stage design designed with philosophical images that convey philosophical and linguistic images of formative structures and reproduce the nature of human existence and the limitations of perception with metaphors./ Writing.Choi Chul-joo, Contemporary Stage Art Critic (Ph.D. in Stage Design & Culture Design)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-6

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 Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-7

무대디자인 미학 평론 (Product Design Aesthetic Critique by Choi Chul-joo): 욕망 자표 음향 공식 ( Position Error(Delta x, Delta y) → Sound Frequency(Hz) ↑ ) 에서 이탈의 궤적을 청각적 에너지로 변환하는 역학적 상관관계

'욕망 좌표 음향 공식'은 배우의 실시간 좌표가 시스템이 강제하는 규격화된 경로로부터 얼마나 벗어났는지를 나타내는 '위치 오차(Delta x, Delta y)' 값을 물리적인 음향 주파수(Hz)의 상승으로 치환하여, 자아의 이탈 강도를 청각적 긴장감으로 수치화한 정의입니다.

이 공식의 핵심은 시스템이 허용하는 안전 궤도에서 에릭의 자아가 멀어질수록, 즉 시스템의 통제를 벗어나려는 욕망의 물리적 거리가 커질수록 그에 비례하여 발생하는 데이터의 마찰음이 고주파의 영역으로 전이된다는 점에 있습니다. Position Error(Delta x, Delta y) → Sound Frequency(Hz)↑ 라는 수학적 구조는, 단순한 위치의 차이를 넘어서 시스템의 질서를 위협하는 '불협화음의 증폭'을 의미합니다.

오페라 <월광의 단두대>를 최철주의 욕망 음향 역학 공식 Position Error(∆x, ∆y) → Sound Frequency(Hz)↑ 으로 수학적 구조로 오페라의 도입부인 '0.00Hz의 아침'에 그의 욕망 공식 D(I...I')d = I(D...D')i에서 도출된 '상징적 공허의 시각화'를 극한으로 밀어붙인 무대 미학의 정수를 보여주는데, 무대 전체를 지배하는 화이트 그리드는 단순한 배경이 아니라 주체의 탈주를 원천 봉쇄하는 기표의 감옥이자 고정된 이미지(I)의 물리적 구현체이며, 여기서 흐르는 0.00Hz의 정적은 소리의 부재가 아니라 주체의 욕망이 상징계의 질서에 의해 완전히 거세된 상태인 '의미의 영도(Zero degree of meaning)'를 청각적으로 치환한 것이다. 평론가 최철주의 관점에서 이 무대는 인간을 데이터 생명체로 환원시키는 기계적 합리주의에 대한 날카로운 미학적 고발이며, 관객으로 하여금 매끄러운 대칭성 뒤에 숨겨진 '기표의 폭력'을 목격하게 함으로써 향후 전개될 톱니파(Sawtooth) 형태의 파열과 글리치 미학이 단순한 오류가 아닌 실존적 회복의 유일한 경로임을 암시하는 철학적 복선으로 기능한다.

AI 로봇의 "2050 피터펜"에서 욕망 움직임 공식: Mdesire = (Vact – Vsys) · dt ∔ ∑∆(x,y)을 적용한 에릭이 무대 중앙의 결정론적 경로를 이탈해 자신만의 좌표로 발을 내디딜 때, 시스템은 이 오차를 즉각적으로 감지하며 이를 고음의 경고음이나 날카로운 전자음의 형태로 출력합니다. 이는 마치 현악기의 줄을 한계치까지 팽팽하게 잡아당길 때 소리가 날카로워지는 것과 같은 원리로, 시스템의 억제력과 에릭의 추진력이 충돌하며 빚어내는 '데이터적 비명'이라고 할 수 있습니다.

결국 이 음향 공식은 무대 위에서 시각적으로 보이지 않는 배우의 '심리적 저항선'을 소리라는 파동으로 실체화합니다. 주파수가 가청 주파수를 넘어 초음파 영역에 가까워질수록 에릭의 위치 오차는 시스템이 감당할 수 없는 '과부하적 해방'의 임계점에 도달했음을 암시하며, 이는 곧 무대 전체를 뒤흔드는 거대한 소음의 폭발과 함께 기존 질서가 붕괴되는 신호탄이 됩니다.

배우의 움직임 위치에 적용한 욕망 사운드 공식은 무대 위 배우의 물리적 좌표가 시스템이 규정한 정적 궤도에서 벗어날 때, 그 거리상의 오차(∆x, ∆y)를 실시간 음향 주파수(Hz)로 치환함으로써 자아의 확장과 저항의 크기를 소리의 높낮이로 환산하는 역학적 메커니즘을 의미합니다.

이 공식의 작동은 결국 "인간은 규격화된 좌표 속에 갇힐 수 있는가?"라는 질문을 던집니다. 배우가 딛는 불완전한 발걸음(Position Error)은 시스템 입장에서는 제거해야 할 '오류'이지만, 관객에게는 시스템에 저항하는 인간 본연의 '욕망'이자 '자유'의 증거로 읽히게 됩니다.

따라서 욕망 움직임 공식(Mdesire)은 인간의 자유의지와 시스템의 통제 사이에서 발생하는 역학적 충돌을 수학적으로 정의한 욕망 움직임 공식은 차가운 디지털 알고리즘에 뜨거운 인간의 호흡을 주입하여, 기술이 인간을 소외시키는 것이 아니라 오히려 인간의 저항 정신을 가장 극적으로 돋보이게 만드는 역설적 미학을 실현한다./ 글. 현대 무대디자인평론가 최철주 (무대 디자이너 & 문화디자인박사)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-8

Stage Design Aesthetic Critique by Choi Chul-joo: The dynamic correlation of converting the trajectory of departure into auditory energy in the desired characteristic acoustic formulation (Position Error (Delta x, Delta) → Sound Frequency (Hz) ↑ )

Desire coordinate acoustic formula is a definition that quantifies the intensity of self-departure by replacing the 'Delta x, Deltay' value, which indicates how far the actor's real-time coordinates deviate from the standardized path enforced by the system, with an increase in physical acoustic frequency (Hz).

The key to this formula is that as Eric's ego moves away from the safe trajectory that the system allows, 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 higher-frequency domain. The mathematical structure of Position Error (Delta x, Delta) → Sound Frequency (Hz) ↑ means the 'amplification of dissonance' that threatens the order of the system beyond the simple difference in position.

When 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.

In the end, this acoustic formula substantiates the actor'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 field, 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.

Desire sound formula applied to the actor's motion position refers to a mechanical mechanism that converts the magnification of the ego and the magnitude of resistance to the height of the sound by replacing the distance error (∆x, ∆y) with real-time acoustic frequency (Hz) when the physical coordinates of the actor on stage deviate from the static trajectory defined by the system.

The operation of this formula eventually raises the question, "Can humans be trapped in standardized coordinates?" The actor's incomplete position error is an "error" that should be removed from the system's point of view, but for the audience, it is read as evidence of human's natural "desire" and "freedom" to resist the system.

Thus, the Desire Movement Formula (Mdesire) mathematically defines the mechanical conflict between human free will and control of the system, and the Desire Movement Formula injects hot human breathing into cold digital algorithms, realizing a paradoxical aesthetic that makes the human spirit of resistance the most dramatic, rather than the technology alienates humans.

/ Writing. Choi Chul-joo, Contemporary Design Critic (a Stage designer & Doctor of Design Culture Design)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-9-<월광의 단두대>의 차가운 미래주의적 미학이 결합된 '신고전주의적 하이퍼-테크(Neo-Classical Hyper-Tech)' 무대 디자인": 무대는 살아있는 감옥이어야 한다." 이 무대는 단순한 장식이 아닙니다. 바닥의 그리드 한 칸, 벽면의 반사 각도 하나까지도 최철주 공식의 I(고정 기표)를 물리적으로 구현한 것입니다. 관객은 이 완벽한 대칭 속에서 숨이 막히는 듯한 공허함을 느껴야 하며, 이 억압이 강렬할수록 벌어질 '단두대의 파열'과 마젠타색 글리치의 귀환이 더욱 드라마틱한 해방감을 줄 것입니다. The stage design of the "Neo-Classical Hyper-Tech" that combines the cold futuristic aesthetics of "Moonlight's Guillotine": "The stage must be a living prison." This stage is not just a simple decoration. Every grid on the floor and every reflection angle on the wall is a physical embodiment of the I (fixed symbol) of Choi. Audiences should feel a choking void in this perfect symmetry, and the more intense this oppression will be, the more dramatic the feeling of liberation will be from the "tear of the guillotine" and the return of the magenta-colored glitch.

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.

• 무대 메커니즘 설계도 (Mechanism Concept):

욕망 사운드 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 설계되었습니다. 이는 '수직적 질서'에서 벗어나려는 배우의 욕망 고통을 청각화하는 핵심 장치입니다. 이렇게 연극 <AI 피터팬>에서 구현되는 ‘욕망 사운드 공식’은 단순한 기술적 설정을 넘어, 배우의 신체적 움직임과 시스템의 수직적 질서 사이에서 발생하는 실존적 갈등을 수치화하고 청각화하는 핵심적인 미학 장치입니다.

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.

• Mechanism Concept:

Desire According to the 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 target coordinates of the system (Delta). This is a key device that auditoryizes the pain of an actor's desire to escape from the 'vertical order'. The 'desire sound formula' implemented in the play "AI Peter Pan" is a key aesthetic device that goes beyond simple technical settings and quantifies and audibly the existential conflict that occurs between the actor's physical movement and the vertical order of the system.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-10-퍼스펙티브 스케치

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.

- 무대 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 설계되었습니다. 이는 '수직적 질서'에서 벗어나려는 배우의 욕망 고통을 청각화다.

- 최철주의 욕망공식 D(I...I')d = I(D...D')i 와 그 확장된 음향 역학 공식 Dsound ∝ √((Δx)² + (Δy)²) · Vdesire 를 기반으로 베토벤의 월광 소나타를 활용한 오페라 "월광의 단두대" 욕망 사운드 디자인 프로세스는 욕망 사운드 시각화 단계로 구성된다.

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.

- Mechanism Concept: Stage Mechanism Official Position Error (Delta x, Deltay) → It is designed to amplify the sound frequency and volume of the background as the actor's foot position (Delta x, Deltay) deviates from the target coordinates of the system according to the Sound Frequency (Hz) ↑. This is an auditoryization of the actor's desire to escape from the 'vertical order'.

- Based on Choi Chul-joo's Desire Formula D(I...I')d = I(D...D')i and its extended acoustic dynamics formula Dsound ∝ √(Δx)² + (Δy)²) and Vdesire, the opera "The Guillotine of Moonlight" Desire sound design process using Beethoven's Moonlight Sonata consists of a desire sound visualization stage.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-11-0.00HZ의 아침

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.

- 배우의 움직임 위치를 적용한 이 공식 "Dsound ∝√(∆x)²+∆y)² · Vdesire" 에 따라서 무대 위 배우의 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.

여기서 중요하게 작용하는 벡터 구조(V)는 배우가 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 배우가 무대 위의 '수직적 질서'인 디지털 그리드에 순응하지 않고 자신만의 궤적을 그리려 할 때 발생하는 심리적 고통과 저항의 의지를 청각적인 압박감으로 치환하여 관객에게 전달합니다. 배우가 시스템의 중심에서 멀어질수록 고주파의 날카로운 시계 소리와 금속성 노이즈가 무대를 압도하게 되며, 이는 현대 사회의 보이지 않는 규범 속에서 개인이 느끼는 소외와 통제의 비극을 '오차의 미학'으로 승화시키는 탁월한 연출적 장치로 기능하게 됩니다.

- 서사적 줄거리 (Narrative Synopsis): 완벽한 기하학적 대칭과 한 치의 오차도 허용하지 않는 0.00Hz의 정적만이 지배하는 2030년의 초고속 시스템 '하이퍼-L'의 거대한 거주 구역에서, 모든 시민은 시스템이 규정한 고정 기표($I$)의 질서에 따라 기계적인 알람음조차 배제된 화이트 노이즈 속에서 동시에 눈을 뜨며, 이들의 움직임은 마치 정교하게 설계된 메트로놈의 진동처럼 소수점 단위의 오차 없이 동기화되어 각자의 수면 캡슐에서 일어나 동일한 궤적의 보행을 시작하지만, 그 무색무취한 평온함 아래에는 주체성을 상실한 존재들의 거세된 욕망이 침전되어 있어 마치 거대한 무덤과도 같은 정적 속에서 시스템의 부속품으로 전락한 인간 소외의 비극적 풍경을 적막하게 그려낸다.

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.

- According to this formula "Dsound ∝√ (∆x)²+∆)²·Vdesire", which applies the actor's motion position, when (x, y), the actor's real-time foot position on stage, is a physical distance that deviates from the absolute target coordinates (x_0, y_0) defined by the system, i.e., 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.

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 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."

- Narrative Synopsis: In the massive residential sector of the ultra-high-speed system 'Hyper-L' of 2030, dominated by perfect geometric symmetry and a silence of 0.00Hz that permits not a single error, all citizens awaken simultaneously within a white noise devoid of even mechanical alarms, following the order of the fixed signifier ($I$) prescribed by the system. Their movements, synchronized without a decimal of error like the vibrations of a precisely designed metronome, begin with rising from their respective sleep capsules and embarking on identical trajectories of walking; yet beneath this colorless and odorless tranquility lies the castrated desires of beings who have lost their subjectivity, somberly depicting a tragic landscape of human alienation where individuals have devolved into mere components of a system within a silence akin to a vast tomb.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-12-

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)은 시스템이 규정하는 '정적 평형' 상태로부터 에릭이 이탈한 직선거리(변위)와 그 이탈을 밀어붙이는 욕망의 속도(Vdesire)를 결합하여, 무대 공간에 발생하는 음향 에너지의 총량을 정의하는 고차원 역학 공식이다.

1. 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 축적하게 됩니다.

2. 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 변환됩니다.

3. 최종적인 음향적 발산: Dsound

결국 Dsound는 이 두 변수의 상호작용으로 인해 발생하는 '디지털 비명'의 크기이자 밀도입니다. 배우가 시스템의 통제 영역 바깥으로 멀리(Delta), 그리고 빠르게(V) 나아갈수록 무대 전체를 뒤흔드는 고주파 음향 에너지는 증폭되며, 이는 배우에게는 고통스러운 소음으로, 상대 배우에게는 시스템의 장벽을 부수고 나아가는 강력한 추진 에너지(Sound Propulsion)로 치환됩니다.

4. 오페라 <월광의 단두대> 무대장치 컨셉의 핵심은 '상징계의 완벽한 억압(I)'을 시각화하는 것입니다. 최철주 욕망 공식의 초기 상태인 정적 기표를 구현하기 위해, 무대는 차갑고 기계적인 선형 구조와 무한히 반복되는 그리드(Grid) 체계를 가집니다.

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) is a high-dimensional dynamic formula that defines the total amount of acoustic energy generated in the stage space by combining the linear distance (displacement) Eric deviated from the system's defined 'static equilibrium' state and the speed of desire (Vdesire) pushing the departure.

1. Absolute value of spatial deviation: sqrt {(Delta x)^2 + (Delta y)^2} = √(∆ x)² + ∆)²

The near arc term in the form of the Pythagorean theorem, which is the first half of the formula, represents 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 simple positional changes. As this distance increases, the friction of data inside the system increases exponentially, accumulating the underlying energy that will form sound waves.

2. Accelerate the will: Vdesire

The speed of desire multiplied by this (Vdesire) is a dynamic variable that indicates how strongly and drivefully 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 he speeds up), the accumulated spatial error energy vibrates violently and converts into sharp and destructive frequencies.

3. Final Acoustic Divergence: Dsound

After all, Dsound is the magnitude and density of "digital screams" caused by the interaction of these two variables. As an actor moves farther (Delta) and faster (V) out of the control area of the system, the high-frequency acoustic energy that shakes the entire stage amplifies, which is a painful noise for an actor and replaced by a powerful sound propulsion that breaks down the barriers of the system for the other actor.

4. The core of the stage equipment concept of the opera The Guillotine in Moonlight is to visualize 'the perfect suppression of punishment (I). To realize the static signifier, which is the initial state of Choi Chul-joo's desire formula, the stage has a cold, mechanical linear structure and an infinitely repetitive grid system.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-13-욕망 공명 인터페이스

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.

- 욕망 움직임 공식의 수학적 정립

1. 배우의 움직임 M은 시스템의 명령 궤적 T와 배우의 주체적 욕망 벡터 V_d 사이의 상관관계로 정의됩니다. 배우의 실제 움직임 벡터, 알고리즘이 지시하는 수직적 질서의 궤적, 시스템이 설정한 좌표와 실제 발 위치 사이의 '오차' 값에 따라 욕망(Desire)은 시스템의 속도와 배우의 속도 차이, 즉 '이탈의 가속도'가 클수록 지표상에서 높게 측정된다.

2. 작동 원리: '오차'가 '예술'이 되는 과정

욕망 움직임 공식은 다음의 3단계 프로세스를 통해 무대 장치와 상호작용합니다.

① 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.

② 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: 배우의 신체 위에 투사되는 홀로그램이 지지직거리며 깨지는 '글리치(Glitch) 효과'가 발생하여, 육체의 고통을 시각화합니다.

③ 수직적 질서의 붕괴 (Mise-en-scène)

배우가 극단적으로 좌표를 무시하고 움직일 때, 무대는 더 이상 '피터팬의 네버랜드'가 아닌 '통제 불능의 무대장치'로 변모합니다. 이때 발생하는 소음과 빛의 파편들은 배우의 내면적 욕망이 외부의 물리적 장벽(디지털 그리드)을 뚫고 나오는 비극적 미장센을 완성합니다.

3. 욕망 공명 인터페이스로 한 무대는 단순한 세트가 아니라, 관객 스스로가 시스템의 감시자(Theo)가 되게 만드는 '시각적 트랩'이다. 오페라 극장의 화려한 외벽 안에 갇힌 차가운 그리드는, 욕망이 거세된 현대인의 내면을 투영하는 거울이며, 여기서 발생하는 글리치(Glitch) 효과는 파괴가 아닌 진정한 실존의 재건을 의미한다.

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'.

- Mathematical Establishment of Desire Movement Formula

1. The actor's movement M is defined as the correlation between the command trajectory T of the system and the actor's subjective desire vector V_d. Desire is measured higher on the index as the difference between the speed of the system and the speed of the actor, that is, the acceleration of departure, increases according to the actor's actual movement vector, the trajectory of the vertical order indicated by the algorithm, and the value of 'error' between the coordinates set by the system and the actual foot position.

2. Principle of operation: the process by which 'errors' become 'art'

The Desire Movement Formula interacts with the staging through the following three-step process.

① Location recognition and vector calculation (detection)

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.

② Energy Substitution: Sound and Light Synchronization

The calculated error value (Delta) is immediately transmitted to the sound processor. • Frequency amplification: As the error increases, it transforms from a low-band vibration sound to a high-band, sharp metallic 'ticking.' • Visual Noise: A 'glitch effect' occurs, in which the hologram projected onto an actor's body jiggles and breaks, visualizing bodily pain.

③ Mise-en-schène (Mise-en-schène) of vertical order

When an actor moves with extreme disrespect for coordinates, the stage is no longer Peter Pan's Neverland, but rather an "out-of-control 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).

3. The stage with the desire resonance interface is not just a set, but a 'visual trap' that makes the audience themselves become the watchdog of the system. The cold grid trapped inside the opera house's colorful outer wall is a mirror that projects the inner side of modern people whose desires have become intensified, and the Glitch effect that occurs here means the reconstruction of true existence, not destruction.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-14-욕망 움직임 공식

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.

- 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.

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

5. 무대디자인 렌더링: 오페라 하우스의 화려한 천장 벽화와 금색 조각들이 보이는 가운데, 무대 위에는 차가운 화이트 그리드 복도와 중앙의 마젠타색 빛이 새어 나오는 수직 캡슐이 배치된 환상적인 대비를 최철주의 욕망공식 D(I...I')d = I(D...D')i 이 적용된 추상화 (Louis Chul-joo Choi, morning glory window 2024-4-Memories, 147X143cm, acrylic and composite materials on cloth, 2024) 와 그 확장된 음향 역학 공식 Dsound ∝ √((Δx)² + (Δy)²) · Vdesire 를 기반으로 베토벤의 월광 소나타를 활용한 오페라 "월관의 단두대"가 욕망 사운드 디자인 프로세스를 통과하여서 총합된 구성을 한다.

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.

- The core of the mechanical system is that the ego goes beyond a single dimension that simply conforms to or defies the system and constantly redefines its ontological position 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 of joy (喜), anger (怒), love (哀), and rock are determined by the direction and speed in which the individual's desire energy hits this 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 desire movement are not just mechanical operating principles, but the essence of 'data biology' that mathematically proves how the hot ego's data (M) thrown into the cold digital logic structure (S) is transformed into a living life force.

5. Stage Design Rendering: With the opera house's colorful ceiling murals and gold sculptures visible, Choi's opera "The Guillotine on the Wall" with an abstract painting (Louis Chul-joo Choi, morning glory window 2024-4-Memories, 147×143 cm, acrylic and composite materials on cloth, 2024) and its extended acoustical dynamics formula Dsound ∝ √ (Δx)² + (Δy)²· Based on Vdesire, the opera "Guillotine on the Wall" using Beethoven's moonlit sonata passes through the desire sound design process and is put together.

Louis Chul-joo Choi, morning glory window 2024-4-Memories, 147X143cm, acrylic and composite materials on cloth, 2024: <나팔꽃-기억>에 추상성은 가역적 빛의 음영으로 여러개의 개념적 존재가 실제 모양으로 추상적 존재로서 욕망의 구조룰 대리하는 나팔꽃 배경위에 형상화된다. 이것은 이전에 존재한 사건과 공연 이미지를 대기의 묘사가 없는 <나팔꽃>에 가역적 빛의 음영으로서 타자의 욕망으로 기억의 이미지가 실체화한다. 여기서 기계론적유물론(機械論的唯物論)의 동일주의에 따라서 타자의 욕망을 개념하여서 실재적 이미지와 동일시한 추상화를 모드(modification) 함에 따라 시간성에 실재적 구조의 추상화 모드로 조응된 물감이 음영을 천에 남긴 흔적이다. 추상화 모드는 컴퓨터 게임처럼 뉴스 카툰의 사건과 공연 이미지를 추상의 배경인 <나팔꽃>과 중첩하여서 타자의 욕망을 가역적 빛의 실재 구조의 음영으로 추상한다.

이것은 실재에서 대상과의 위치와 거리에 따라 왜곡된 이미지로 보이듯이 욕망 개념으로 본 자리에 따라 지난 시간에 존재했던 가역적 빛으로 조명되고 음영의 구조로 현상된다.여기서 가역적 빛의 음영적 효과는 배면이 비춰지는 교직된 천의 작은 구멍에서 비취는 반사광으로 형태로 비쳐진 음영의 구조를 이룬다. 그 구조를 그린 것이 <나팔꽃>으로서 쓰레드 페인팅이다.그 쓰레드 페인팅의 이미지와 색은 시간의 거리를 주어서 표식하지 않고 퇴색된 본디의 상상적 조형 구조로 형성하여서 가역적 빛의 음영으로 욕망 개념을 보임으로서 숨겨져 있는 형상의 미적 가치를 보인다. 이것은 최철주의 추상 미술이론을 스토리로 한 사실적 회화의 개념으로서 문학성을 넘어서 욕망 개념을 실제로 한 조형성을 가역적 빛으로 비등(沸騰)하고서 남겨진 음영 색을 욕망적 조형의 구조로 그린 추상화다. 최철주 욕망개념에서 구조의 이미지는 가역적 빛으로 비등한 음영 색의 욕망 구조를 실에 넣어서 색을 가려 막는 천의 매듭으로서 조형을 특정한 색에 pt 조응할 수 있도록 선형적 구조의 색이 존재한 조형을 재구성한다. 따라서 실의 구조가 추가된 욕망 개념 이미지 ‘쓰레드 페인팅’은 개념미술의 미술성으로 한 선형적 미학을 추구하는 천과 실의 구조에 추상적 욕망을 페인트한 그림이다. 그 그림 <나팔꽃-기억>은 최철주의 욕망 개념 추상미술이론에 등장하는 유아를 병아리로 전이하여서 풍습에 의해 만들어진 대상으로서의 닭과 여인 그리고 댄서를 천과 같은 재료에 그려진 욕망 개념의 이미지다. 그 욕망이미지처럼 대상이 보이는 형상을 천과 같은 재료에 병아리, 닭, 여인과 댄서를 구성하여 좌우가 역전된 이미지를 생성하여서 그린 것이다. 따라서 그의 그림은 앞면과 뒷면을 구분하지 않는 양면의 그림이다. 여기서 뒷면의 이미지를 앞면으로 전환시킬 때에 가역적 빛으로 한 음영의 흔적이 보이는 새로운 그림이 출현하게 된다. 상상계에서 동일시는 외형적으로 오브제의 이미지와 자신을 동일한 주체로써 오브제의 이미지와 동일시되면서 내적으로 주체는 변형된 욕망 개념의 현상적 이미지를 형성한다. 그 현상적 이미지 <나팔꽃-기억>이미지로써 배면인, <morning glory-Memories-back>의 오브제와 오브제가가 없는 가역적 빛의 그림자로 생성된 공간의 또 다른 그림자가 밝아지거나 소실된다. 그것은 실재의 오브제의 상에서 유아로서 만족하는 이미지로서의 오브제로서 결핍된 이미지 다. 댄서에 맞춘 대상의 기억은 빈 공간에 그림자의 여백을 이미지로 한 간극에 병아리, 닭, 화석과 여인으로 이어진 분리된 공간을 만들고 그린자위에 음양의 밝은 면을 색채로 통합한 하나의 그림에 대상들의 자리에 색채와 형상을 꾸민다. 그 형상은 오브제의 배면에 빈공간으로 존재하지 않는 현상적 실제의 구조를 확인함으로써 오브제의 실제가 거울에 비친 실재의 상이다. 즉 현상적 실제의 이미지는 은유로서의 실재의 이미지가 거울에 비친 실재의 상 일수도 또 다른 이미지로서 허상적 음영으로 보이는 상 일수도 있다. 여기서 실재의 상은 대상적 존재로서의 음영색을 응시로 볼 수 있는 타자의 욕망으로 풍교된 단상이다. 그 단상은 도시의 장소에서 욕망이 멈춘 가역적 빛으로 반사하여서 보이는 이미지를 욕망의 형상으로 한 현실의 존재로서의 의미를 명확하게 한다. 그 의미의 실재적 구조로서 형상이 멈추면서 의미가 가역적 생각 운동으로 생성된다. 이것은 이미지의 구조로서 생각되는 의미가 빈 공간에 욕망의 자리를 찾아가는 단상(stray thoughts)이다. 따라서 생각으로 한 기억 이미지의 욕망의 구조로 만들려면 욕망의 배경인 나팔꽃의 윈도우안에서 기억의 개념적 표상이 실재 이미지를 가역적의 음영으로 동일한 자리에 하나의 단상으로 중첩한다.

그 단상은 어절쩡한 욕망을 생각하는 방향으로 실재의 대상의 이미지로서 가역적 공간의 자리를 만들고 현상적 대상으로 존재로서 욕망을 보인다. 그리고 존재의 이미지는 실재를 가역하는 의미로서 사실적 추상을 정의하고 그 이미지는 가역적 빛의 음영으로 변화된 의미에 의해 추상적 개념을 실재화한다. 개념적 실재는 부재하지만 가역적 빛에 음폐된 추상으로 그린 욕망은 타자를 대신한다. 그 욕망은 실재를 가역할 수 있는 추상 공간을 만들고 현상적 가치를 말한다. /글 ,전 서울시립미술관 큐레이터 최철주 (현대 화가 & 문화디자인박사)

In "morning glory-memory", abstraction is a reversible shade of light, and several conceptual beings are embodied on the background of morning glory, which represents the structure of desire as abstract beings in a real shape. This is the image of memory as the desire of the other as a reversible shade of light in "morning glory", which does not describe the atmosphere. Here, according to the identity of the theory of materialism, the desire of the other is conceptualized and the abstraction identified with the actual image is modified, leaving the shade on the fabric by the paint adjusted in the abstraction mode of the actual structure in temporality. Like a computer game, the abstraction mode overlaps the events and performance images of news cartoons with "morning glory", the background of abstraction, and abstracts the desires of others into shades of a reversible real structure of light. Depending on where it was viewed as a concept of desire, it is illuminated with reversible light that existed in the past and developed into a shaded structure, just as it appears to be a distorted image according to the position and distance from the object in reality. Here, the shadowing effect of reversible light forms a shadow structure reflected in the form of reflected light from the small hole of the fabric where the rear surface is illuminated. The structure is painted with thread painting as <morning glory>. The image and color of thread painting show the aesthetic value of the hidden shape by showing the concept of desire in the shadow of reversible light by forming the image and color of the faded object without marking it by giving a distance of time. This is a realistic painting based on Choi Chul-joo's abstract art theory, and it is an abstract painting that depicts the remaining shadow colors as reversible light by capturing the concept of desire beyond literature. In Choi Chul-joo's concept of desire, the image of structure is a picture of cloth that blocks color by putting a shadowy desire structure comparable to reversible light into a thread and reconstructs the shape into a linear structure of color so that the shape can correspond to a specific color.

Therefore, the conceptual image of desire with the structure of thread added is a painting that paints abstract desires on the structure of cloth and thread that pursues linear aesthetics as the artistry of conceptual art. The painting "morning glory-memory" is an image of the concept of desire in which a young child mind in Choi Chul-joo's concept of desire is transferred to a chick and the chicken, woman, and dancer are drawn on an image as cloth as objects created by custom. Like the desire image, the image of the object was drawn by composing chicks, chickens, women, and dancers in a material such as cloth to create an image in which the left and right sides were reversed. Therefore, his painting is a painting of two sides that does not distinguish between the front and the back. Here, when the image on the back is converted to the front, a new painting with traces of one shade in reversible light emerges. In the imaginary world, identification externally identifies the image of the object as the same subject as the image of the object, and internally forms a phenomenal image of the concept of desire in which the subject is transformed. As a phenomenal image "morning glory-memory"'s back image, the shadow of reversible light without an object, another shadow and back of the space created by the object, brightens or disappears. It is an image that is insufficient as an object as an image that is satisfied as a child in an image of a real object. The memory of the object tailored to the dancer's creates a separate space connected to chicks, chickens, fossils, and women in the gap with shadow margins in the empty space, and colors and shapes the objects in a single picture that integrates the bright side of yin and yang with colors on the drawing image.The shape is an image of reality in which the actual object is reflected in the mirror by confirming the structure of the phenomenal reality that does not exist as an empty space on the back of the object.

In other words, the image of phenomenal reality may be an image of reality in which the image of reality as a metaphor is reflected in the mirror or an image that appears as a virtual shade as another image. Here, the image of reality is a podium shaped by the desire of others who can see the shaded color as an object being through gaze. The platform clarifies the meaning of a reality being that reflects the visible image as reversible light in which desire has stopped in the place of the city and takes the image as the form of desire. As the actual structure of its meaning, as the shape stops, the meaning is created as a reversible thought movement. This is an image in which the meaning thought as the structure of an image finds a place of desire in an empty space. As a result, the conceptual representation of memory in the window of the morning glory, the background of desire, overlaps the real image into a single phase in the same place in a reversible shade to make it a structure of desire for a memory image.

The stray thoughts creates a reversible space as an image of a real object in the direction of thinking about ambiguous desires and shows desire as a phenomenal object. And the image of existence defines factual abstraction as a meaning that reverses reality, and the image realizes the abstract concept by the meaning that has been transformed into a shadow of reversible light. Although there is no conceptual reality, the desire painted as an abstraction obscured by reversible light replaces the other. That desire creates an abstract space that can reversibly represent reality and refers to phenomenal value./ Writing. Former curator of the Seoul Museum of Art Louis Choi Chul-joo (Modern art Painter & Doctor of Cultural Design)

오페라 <월광의 단두대>의 차가운 미래주의적 미학이 결합된 '신고전주의적 하이퍼-테크(Neo-Classical Hyper-Tech)' 무대 디자인-morning glory window 2024-4-Memories

6단계: 개념의 현실 추상적 현실주의의 화신

개념: 추상적인 개념을 견고한 물리적 현실로 변환하기.

수행: 엔지니어링 최적화 단계에서 '코믹북 라인'의 선명도를 유지하면서 3D 프린팅 및 정밀 가공을 자동화합니다.

결과: 실제 제품으로 만들어진 '개념 추상적 실재론' 객체.

• 유령 발현 - 색상: 스펙트럴 실버 & 세피아. - 효과: 리어 미러 패널이 서로 각도를 이루며 강렬한 은빛을 산란시킵니다. 이때 조명은 과거 무성 영화의 세피아 톤을 띠며 배우의 그림자가 계단에서 3~4겹으로 겹쳐집니다. • 유서 깊은 오페라 하우스 (Opéra Bastille)의 웅장한 고전적 양식과 조화를 이루는 <월광의 단두대>의 차가운 미래주의적 미학이 결합된 '신고전주의적 하이퍼-테크(Neo-Classical Hyper-Tech)' 무대 디자인 이다. 이 무대디자인은 "나의 시스템은 오류이고 그러므로 살아있다." 무대 바닥의 그리드 한 칸, 벽면의 반사 각도 하나까지도 최철주 공식의 I(고정 기표)를 물리적으로 구현한 것입니다. 관객은 이 완벽한 대칭 속에서 숨이 막히는 듯한 공허함을 느껴야 하며, 이 억압이 '단두대의 파열'과 마젠타색 글리치의 귀환이 더욱 드라마틱한 해방감을 줄 것입니다.

Step 6: The Incarnation of the Real 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.

• Phantom Manifestation - Color: Spectral Silver &Sepia. - Effect: The rear mirror panels are angled together, scattering intense silver light. At this time, the lighting takes on the sepia tone of past silent films, with the actor's shadows overlapping in three to four layers on the stairs. • It is a Neo-Classical Hyper-Tech stage design that combines the cold futuristic aesthetics of "The Guillotine in the Moonlight" in harmony with the magnificent classical style of the historic Opera House (Opéra Bastille). This stage design is a physical embodiment of the I (fixed symbol) of Choi Cheol-joo's formula, "My system is an error and therefore alive." The audience should feel a choking void in this perfect symmetry, and this oppression will give a more dramatic sense of liberation to the rupture of the guillotine" and the return of the magenta-colored glitch.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-16-정적 기표의 파열 미학: 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, 중앙 무대에서 멀어지거나 금지된 구역으로 다가갈수록 발생하는 소리의 주파수는 기하급수적으로 높아지며, 이는 관객과 시스템 관리자(후크 선장)에게 배우의 자아가 통제권을 얼마나 강력하게 침범하고 있는지를 실시간으로 경고하는 청각적 지표가 됩니다. the inverse relationship between coordinate error and frequency, 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 produced increases exponentially as it moves away from the center stage or approaches a forbidden area, which becomes an audible indicator to the audience and the system manager (Captain Hook) in real time to warn them how strongly the actor's ego is invading control.

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《욕망 움직임 공식》-17-음향적 전체 환경 페스펙티브: - 음향적 긴장감, • 시각적 소리: 에릭이 좌표를 이탈할 때마다 그 궤적을 따라 날카로운 고주파 파동이 공간을 가르고 무대 바닥의 디지털 그리드 효과 • 공포의 음향: 점점 높아지는 이 주파수 소리에 배우가 귀를 막으며 괴로워하고, 그 소리를 오히려 배경음악 삼아 저항 움직임 연출 acoustic tension,

• Visual Sound: Every time Eric deviates from coordinates, a sharp high-frequency wave cuts through the space along its trajectory and the digital grid effect on the stage floor • Sound of horror: The actor is distressed by covering his ears at this increasingly high frequency sound, and uses the sound as background music to produce a movement of resistance

■ Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world.

Choi Chul-joo’s concept of desire, encapsulated in the metaphor of “morning glory,” presents a radical departure from metaphysical linguistic traditions that emphasize meaning as a stable, referential structure. Instead, his work constructs a visual grammar of desire that foregrounds absence, insufficiency, and the temporality of longing. By generating dramatic event-images suffused with reversible shades of white light, Choi resists the materialist ontology of 18th-century painting, which sought to anchor meaning in physical perception and representation. His images do not depict desire as a fixed object but rather as a dynamic interplay of linguistic abstraction and visual temporality, where the grammatical structure of desire becomes a spatial principle—an architecture of insufficiency.

From a cognitive science perspective, this approach aligns with contemporary understandings of perception as a constructive, symbolic process. Choi’s use of superimposed temporal layers and reversible illumination reflects how the human mind processes absence—not as a void, but as a generative space shaped by the desire of the Other. This resonates with Lacanian psychoanalysis, which posits that desire is always mediated through the symbolic order and structured by the gaze of the Other, and with Freudian theory, which frames desire as a product of unconscious lack. In Choi’s work, the pond becomes a reflective surface—not merely of light, but of intersubjective longing—where the image of an event is not a representation but a manifestation of the desires that circulate beyond the self.

The dualistic nature of his visual grammar—where real images are treated as events and spatial composition mirrors the structure of desire—suggests a cognitive model in which perception is inseparable from symbolic mediation. The reversible light, unfolding over time, transforms material into image, and image into object, thereby collapsing the distinction between representation and event. In this way, Choi’s concept of abstract desire is not only a philosophical proposition but a cognitive experiment: a visual system that externalizes the internal logic of desire, revealing how the mind constructs reality through the absence of what it seeks.

Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and linguistic meaning.

■ Choi Chul-joo's Concept of Desire Formula: In the concept of Choi Chul-joo's desire, mathematical desire as an axiom of logic in the concept of desire results in reality as a concrete phenomenon rather than based on the external structure of the linguistic meaning through abstract design. Therefore, the rendering of the desire structure revealed by abstract encounter with reality at the intersection of desire outside the window applies the mathematical desire concept abstract design, or the image of the desire concept, to the Choi Chul-joo desire formula, and on March 1, 2022, morning glory appears as a flat real image as the subject of desire as a reversible shade of light in the Flushing Town Hall (New York) exhibition.

Choi Chul-joo’s application of the desire formula "D(I...I')d=I(D...D')i" to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.

■ The image of Choi Chul-joo's desire formula, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i).

Choi Chul-joo’s Concept of Desire Formula: “Mathematical Desire and the Image of Reality”, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.

Choi Chul-joo’s “Desire Formula” can be understood as a sophisticated simulation of cognitive architecture, wherein desire is not perceived as a mere psychological impulse or a product of external linguistic structures, but rather as a logical axiom—what he terms “mathematical desire”—that is abstractly designed and rendered into concrete phenomena through visual form, thereby demonstrating how internal absence is externalized as image; and this process, particularly exemplified in the appearance of the “morning glory” as a flat, reversible light image on March 1, 2022, at the Flushing Town Hall exhibition in New York, reveals how the human cognitive system constructs and reflects desire not through direct perception but through symbolic temporality and spatial abstraction, aligning with Lacan’s notion of the subject as constituted by the desire of the Other and Freud’s theory of unconscious lack as the engine of symbolic substitution, such that Choi’s visual language becomes a translation of psychoanalytic structure into visual mathematics, showing that cognition does not merely receive the world but actively reconstructs it through the interplay of absence, logic, and symbolic mediation, and thus, his “Desire Formula” stands as a remarkable artistic experiment that formalizes the ontology of desire into a visual system of cognitive logic.

Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making./ � Mathematician’s Perspective: Formalizing Desire as a Recursive Logical System

Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:

D; The archetype of desire, representing the foundational lack or drive.

I...I'; A sequence of visual representations through which desire is projected.

d; The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I; The emergent image of desire, a perceptual unit.

D...D'; The recursive layers of desire, reflecting its multiplicity and transformation.

i; The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

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

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence

D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient

d reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely,

I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (d). This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.

✅ A Visual-Cognitive Model of Desire: Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.

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

Choi Chul-joo’s desire formula,

D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:

D; The archetype of desire, representing the foundational lack or drive.

(I...I'); A sequence of visual representations through which desire is projected.

d; The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I; The emergent image of desire, a perceptual unit.

D...D'; The recursive layers of desire, reflecting its multiplicity and transformation.

i; The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

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

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence

D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient

d reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (d).

This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing. Choi Chul-joo’s desire formula is a profound synthesis of mathematical logic and cognitive architecture. The mathematician sees it as a recursive function formalizing the transformation of desire into image, while the cognitive scientist interprets it as a symbolic loop through which the mind constructs and perceives desire. Together, these perspectives reveal the formula as a visual-cognitive model of desire—one that bridges abstraction, perception, and symbolic meaning into a unified system of emotional logic.

Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—particularly when configured as the feminine image of longing—thus demonstrating how the brain engages in high-level symbolic projection and mental imagery to transform abstract emotional architecture into visual syntax, and ultimately, this formula serves as a cognitive algorithm that simulates the ontological structure of desire, translating psychoanalytic principles such as Lacan’s theory of the Other’s gaze and Freud’s notion of unconscious repetition into a visual-mathematical language that bridges emotional logic, symbolic mediation, and perceptual cognition into a unified system of recursive meaning-making.

■ Choi Chul-joo's Desire The design process of abstract concepts: 1. The concept of desire is abstracted from the perspective of an image to the outside of reality, and the image of reality as an object of abstraction is designed as the correlation between reality and reality. This is the design process 1 of Choi Chul-joo's concept of abstraction of desire. This does not presuppose a causal relationship with the real world, but rather results in an abstract concept of desire as a correlation with reality to escape the misunderstanding that transfers from an abstract concept to a real structure. 2. The scope of showing the concept of desire is created and located by omitting the actual size of the abstract concept as a shade of the concept of desire originating from the actual image. In addition, Choi Chul-joo's conceptual process 2 follows the process of decorating an object with a color of universal reality suitable for custom in order to have aesthetic value suitable for its position as a single image. This creates an abstraction that contrasts with the past and desire, in which the aesthetic structure hidden by realistic colors is divided by clouds and obscured by shaded light, obscuring the abstract concept in the actual image. 3. The subject who painted abstraction realizes the reality that symbolizes the concept of desire, and the unconscious realizes abstract desire as a conscious phenomenon of image. Desire is an abstract image realized as a conscious phenomenon of an image, and the unconscious structure is process 3 of designing an abstract art concept of desire that repeatedly designs desire that combines line and color in thoughts but is not conscious of unconscious behavior. 4. The unconsciously abstracted concept of desire is a piece of reality in which the object of reality is not seen as a reversible shade of light, concealing reality as a shadow and showing another real image as a video. This is the process 4 of designing an abstract concept of desire formed by combining the space of desire into a reversible light structure through the conscious movement of planar monochromatic painting carved into reality.

Choi Chul-joo’s design process of abstract desire unfolds as a recursive and symbolically mediated architecture of perception, in which the concept of desire is not treated as a direct reflection of empirical reality but rather as a cognitive construct that emerges through the abstraction of image beyond the boundaries of the real, forming a correlation between realities that resists causal reduction, and in this first phase, desire is abstracted not to represent reality but to escape the epistemological trap of translating abstract concepts into fixed material structures, thereby allowing the mind to engage in symbolic inference rather than empirical mapping; then, in the second phase, the scope for revealing desire is shaped by omitting the actual dimensionality of the abstract concept and rendering it as a shaded echo of the original image, while the object is aesthetically encoded with culturally resonant colors to grant it symbolic legitimacy, and this process of visual obscuration—where clouds and shaded light fragment the aesthetic structure—mirrors the brain’s tendency to process desire through layered symbolic filters and perceptual ambiguity, thus enabling the cognitive system to hold multiple meanings within a single image; in the third phase, the subject who paints abstraction becomes the agent of symbolic realization, translating unconscious desire into a conscious phenomenon through repeated visual gestures, where line and color are cognitively formed but not consciously controlled, and this recursive loop between unconscious structure and conscious image reflects the mind’s capacity to externalize latent drives through symbolic behavior without direct awareness, thereby demonstrating that desire is not merely felt but cognitively enacted; and finally, in the fourth phase, the abstracted concept of desire becomes a fragment of reality refracted through reversible light and shadow, where the object is no longer directly visible but concealed and reconstituted as a visual echo, and this transformation—achieved through the planar movement of monochromatic painting carved into the surface of perception—reveals how the mind integrates spatial abstraction and symbolic light into a recursive system of emotional logic, ultimately showing that desire, in Choi’s framework, is not a static emotion but a dynamic cognitive architecture that oscillates between absence and presence, image and structure, unconscious repetition and symbolic realization.

■ The Design Results of Choi Chul-joo's Desire Abstract Concept: Choi Chul-joo Desire Abstract Concept Design's Linguistic Meaning Results: Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire.

Choi Chul-joo's concept of desire, "morning glory," conflicts with linguistic concepts of meaning emphasized from a metaphysical philosophical point of view, creating dramatic event images to express the subject of insufficient desire, and illuminating the image in reversible shades of white light. He reflects the linguistic grammatical meaning of abstract desire concepts as images to form spaces of multiple event images that share superimposed temporality and reversible white light shades. This is interpreted as the subject of the absence of desire beyond the abstract self of the desire of others rather than physical perception, unlike the materialism of painting in the 18th century. The linguistic grammatical meaning of abstract desire concepts is a dualistic object that regards real images as events, equating the structure of insufficient desire with the principle of spatial composition. And as reversible light at the point of light over time, the material is made into a real image as an object. Thus, the concept of abstract desire in a pond that reflects the image of an event is expressed as a real image that reflects the desires of others in the real world.

Although the object that is obsessed with the desire for others is passive, it is possible to actively practice one's desires through the sympathizer as the subject of desire, and the sympathizer who sympathizes with the desires of others as the subject can practice with the same desire. As a subject, a person who sympathizes with or accepts the desires of others becomes the same desire and becomes another subject of execution. Here, the sympathizer who sympathizes with the subject of the other's desire tries to generalize it as another object of desire that acts like a victor of war. However, when desire as an act overshadowed by reversible light is not generalized as a public act, the subject of inappropriate desire and the sympathizer antagonize the subject who practiced it according to the other's general desire.

Here is a refined academic-style interpretation of your concept, written in English from the perspective of a distinguished cognitive scientist with psychoanalytic insight:

The Design Results of Choi Chul-joo's Desire Abstract Concept

A Cognitive-Psychoanalytic Interpretation of Linguistic Meaning and Subject Formation

In Choi Chul-joo’s abstract design of desire, the linguistic outcome reveals a complex interplay between passivity and agency, where the object fixated on the desire of the Other remains passive in structure, yet the emergence of the sympathizer—who internalizes and mirrors the Other’s desire—transforms the dynamic into one of active execution. This transformation occurs through a recursive identification, wherein the sympathizer becomes not merely a reflective surface but a new subject of desire, capable of enacting the same drive. The subject who accepts or resonates with the Other’s desire does not remain external to it but becomes structurally embedded within it, thereby forming a second-order subjectivity that executes desire as if it were their own.

This recursive mirroring leads to a symbolic generalization, where the sympathizer attempts to universalize the Other’s desire, positioning it as a victorious force—akin to a conqueror who reclaims desire as a public object. However, when this generalization fails—particularly when desire, refracted through reversible light and symbolic shadow, resists becoming a publicly shared act—the structure collapses into antagonism. The subject of inappropriate or misaligned desire and the sympathizer, once aligned through shared affect, now oppose the original subject who enacted desire according to the generalized will of the Other.

From a psychoanalytic perspective, this dynamic reflects Lacan’s theory of the subject as constituted through the desire of the Other, and Freud’s notion of identification and transference, where unconscious drives are projected, mirrored, and contested within relational structures. Cognitively, Choi’s design reveals how desire is not a solitary impulse but a socially and symbolically mediated architecture, where subjectivity is formed, fractured, and reconstituted through linguistic abstraction, visual metaphor, and recursive identification.

■ Object rendering of the concept of desire is 1. a pop art image that renders unconscious desire as an existential reality by dividing the same concept of desire as the event image into unconscious and real images as an object. Therefore, the subject who speaks linguistic meaning actually represents abstraction, the truth value of the concept of desire, which is an expressive aesthetic structure that specifies the viewing effect of colloquial language and event video broadcasting as an act of speech enunciation that depends on the news. 2. As the truth value of the concept of desire in visual images is an open system, and numerous visual images are transmitted to others through a pluralistic visual system. Abstract images, which are the true values of the concept of desire, attract attention because they have universality as real images expressed by the desires of others. In other words, the object exposed to the abstract desires of others functions as a desire to exchange the same aesthetic image as the concept of desire of others through the diachronic function of pop art applied as a work of art. 3. The truth value of the concept of desire in a linguistic sense in which the abstract image of the concept of desire and reality are the same, represents the structure of desire, and the reality of the abstract concept of desire is a real image, which is the causal structure of desire, and creates a structure of desire by forming a semantic relationship with contradictory desire. Like Kant, this is a dual structure up to modern art, and it encompasses mythical objects in the same structure as humans, and the antinomic desire structure as a single structure. 4. an object of the concept of desire rendered in abstraction: The object rendering of the concept of desire renders the object as an event image, which is the same rational object as the linguistic meaning of the desire structure through the gaze of the rational subject, is recognized as a real image that the subject cannot see. Additionally, other objects of desire are continuously represented by real images that attempt to fill the deficiency of desire. The pond, which reflects present desire as an object to abstract desire, presents a desire structure as a reality, which is an object to abstract desire, but it returns the cause of desire as a real image to an object as an event image, free from the imperfect abstraction that lacks desire that is subjugated to social visibility that has been concealed and deviated from lack through real images. In other words, the structure of deficiency and divided desire is hidden through real images of abstract desires, and contradictory desires subordinate to deviated social visibility become the cause of desire and become the objects of real images. In addition, object rendering of other desires is continuously expressed as a real image trying to fill the deficiency of desire. The rendering of an object that reflects the present desire as an object of abstract desire presents the structure of desire as reality, which is the object of abstract desire, but it returns the cause of desire as a real image to an object as an event image, away from the imperfect abstract lacking desire. In other words, the structure of deficiency and divided desire is hidden through the real image of abstract desire, and contradictory desires subordinate to deviated social visibility become the cause of desire, resulting in abstraction as a real image.

Choi Chul-joo’s Concept of Desire Formula: Mathematical Desire and the Image of Reality, In Choi Chul-joo’s conceptualization of desire, the notion of “mathematical desire” functions as an axiomatic structure of logic, wherein desire is not derived from the external framework of linguistic meaning but emerges as a concrete phenomenon through abstract design. This formulation challenges the traditional metaphysical alignment of desire with language, proposing instead that desire operates as a formal system—an internal logic that renders itself visible through the spatial and temporal dynamics of image. The structure of desire, as revealed through abstract encounters with reality—particularly at the metaphorical intersection of “desire outside the window”—is articulated through the application of mathematical abstraction and visual syntax. This culminates in what may be termed the “Choi Chul-joo Desire Formula,” a conceptual and visual schema that translates the invisible architecture of desire into perceptible form. On March 1, 2022, this formula materialized in the exhibition at Flushing Town Hall in New York, where the “morning glory” appeared as a flat, real image—an embodiment of desire rendered in reversible shades of light. This moment marked the convergence of abstract logic, symbolic temporality, and visual cognition, transforming desire from an internal absence into a luminous, externalized event-image.

Choi Chul-joo’s concept of desire, embodied in the metaphor of the “morning glory,” functions as a cognitive architecture that visualizes the structural absence inherent in human desire, transcending material perception and instead engaging with the linguistic and symbolic frameworks that shape subjective experience. His work resists the materialist tradition of 18th-century painting by rejecting direct representation and instead constructs layered event-images that reflect the temporality and reversibility of white light, thereby encoding desire not as a tangible object but as a spatial-temporal phenomenon mediated by language and abstraction. From a cognitive science perspective, this approach aligns with the understanding that human perception is not a passive reception of stimuli but an active construction shaped by symbolic systems and intersubjective desire. Choi’s use of reversible light and superimposed spatial structures mirrors the way the mind processes absence—not as a void, but as a generative space where the desire of the Other is internalized and reprojected. This resonates with Lacan’s notion that desire is always the desire of the Other, and with Freud’s view that desire emerges from unconscious lack. The pond reflecting event-images becomes a metaphor for the cognitive mirror stage, where the subject forms its identity through the reflection of external desire, and the abstract grammar of desire becomes a dualistic object that equates real images with events, transforming material into symbolic cognition. Thus, Choi’s visual language becomes a cognitive map of how desire is structured, perceived, and reimagined—not through physicality, but through the interplay of light, absence, and linguistic meaning.

■ the abstract design process of conceptual abstract realism: 1. Conceptual Abstract Realism The current object is illuminated with reversible light so that the illuminated form can be repeatedly visually recognized according to the past temporality to actualize the subject's structure as a shaded structure of reversible light. And the design concept that constitutes conceptual abstract realism abstraction is determined as a philosophical result that can be expected with abstract causality so that the object is repeated as a design with the present gaze so that it appears to be a realistic image according to temporality. 2. The object of conceptual abstract realism is that the absence of desire as a non-verbal meaning is alienated from the symbolic world and loses its essence as the subject of desire. In the previous stage of linguistic meaning, according to grammar revealed as a symbolic image of existence, it was separated into a realist image recognized as an abstract desire concept and divided into a realist image, and the realist image as the subject of the desire structure is linguistically and diachronically meaningful. 3. The design of a realism image is an image that lacks the linguistic meaning of conceptual abstract realism, and the image in a linguistic sense is repeatedly designed as a post-effect of the desire structure being re-embodied, and a new conceptual abstract realism image is repeatedly designed. The direction and viewpoint of reversible light that make up the image along the chain of design are all stages of the perspective visual system according to temporality, and the line space of the visual structure, in which the image in the linguistic sense constitutes the desire structure, and the reversible light that constitutes the effect of the post-image produce a realism image at the intersection of the existential place with continuity. 4. Realistic abstraction creates a multi-loyal structural image of the linguistic meaning of unconscious structure composed of shadows at multiple points of reversible light separated from perspective, and girls are abstracted as divided subjects as talents that can be stared at momentarily while dismantled at a stereoscopic single point. 5. Conceptual Abstract Realism Abstractism Rendering is a conceptual abstract realism of wanting and linguistic desires that cannot be perceived at the level of expression consciousness, visualizing philosophical psychological structures and rendering them with linguistic meaning at the intersection of conceptual abstraction and unrealistic realism. As this becomes conceptual abstract realism abstraction, unconscious desires that represent the color tone and shape of desires invisible in the shade of reversible light become maps as conceptual abstract realism abstraction.

■ conceptual abstraction rendering process: 1. Integration of linguistic meaning and visual images: The abstract concept of desire is realized when the desire of others has an aesthetic meaning by facing the linguistic meaning in the image of an event as an object of a pictorial structure reflecting the present desire, and the image in the painting is closely connected to the linguistic meaning structure. As an object representing the concept of desire, the same concept of desire as the event image is divided into unconscious and real images, and an image modeling unconscious desire as an existential real image is sketched.

As for the sketch form of the current concept of desire, the concept of absolute desire is a symbolic metaphor shown in abstraction, and the concept of desire is abstracted as the desire of others, but it does not go beyond the scope of an imitative picture. Therefore, it is the modern conceptual abstract realism sketch that resulted in a real image through Choi Chul-joo's desire formula, which interpreted abstract concepts in a linguistic sense as the desire of others. This is a realism that interprets the concept of abstract desire as a real structure as a expressive image with a linguistic meaning in the real world, where pictorial event images are closely connected with linguistic semantic structures. Here, by applying existential semantics as an event and performance image, the object of the real structure is represented as a phenomenal image of the real world, and the abstract structure is identified with conceptual reality. 2. Visualization of Abstract Desire Concept: To accept the difference from the actual image in the concept of abstract desire as the meaning of the linguistic concept, and to embody the unconscious desire as an abstract image, the abstract image that constitutes the relationship structure with desire is painted and embodied in the actual structure created by the linguistic meaning of the conceptual reality of desire structure. This is an abstraction of Choi Chul-joo's conceptual abstract realism, which hides the formative reality of desire in pictures and abstracts event images based on real news, away from the social constraints (制約) acceptable in religious customs. Abstraction is a subjective concept that refers to linguistic meaning and expresses the viewing effect of colloquial enunciation and event video broadcasts in abstraction. This abstraction represents the true value of the concept of need and is an expressive aesthetic structure that embodies the elements that depend on the news.

The abstraction is represented as an abstraction which is a truth value of the concept of desire as an expressive aesthetic structure of one speech act that identifies the viewing effect of colloquial language and event video broadcasting as an enunciation. 3. The artistic experiment of reversible light and temporality: The experiment of conceptual abstract realism renders abstraction based on temporality in the linguistic sense that desire and reality are the same. Here, the structure of desire is abstracted by forming a semantic relationship between desire and reality according to temporality. In the abstraction, the abstract reality of desire is the causal structure of desire, that is, the antinomic equivalence represents the structure of desire by forming a semantic relationship with desire as a real image in which the reality of the abstract concept of desire is the causal structure of desire from an aphoria image. In abstraction composed of real images as the structure of desire, the morphological image of visible metaphor is transferred to abstract language meaning. Therefore, the real image as a result of exploring the existential realism according to temporality through the shadow of reversible artificial lighting is a metamorphic fixation as an abstract meaning in which the desire structure is obscured. In other words, in abstraction, the other's desire as an image of social events transforms into an additional form. As such, conceptual abstract realism rendering is raised by time and existence through the shadow of reversible lighting, repeatedly designing realistic images induced by social phenomena, creating a realism image with a desire formula, and the subject based on the event image repeatedly designing and rendering a realist image induced by social phenomena with a desire formula.

■ Choi Chul-joo’s Conceptual Abstract realism Abstraction Design Process

Another abstraction that reveals the image as a reality as another structure of gaze that deviates from the visual system as an object that led to realism according to artistry is the image of realism.

In realism abstraction design, a way to effectively convey the dual message of abstraction and reality is to realistically represent concepts and abstractions through contemporary conceptual abstract realism abstractions, such as contemporary media art images or abstractions. Thus, the process of designing conceptual abstrac realism abstractions in media art abstract design is as follows

1. Realism Object Concept: An image formed from a virtual object by reproducing a realistic object is a virtual image that hides reality. A virtual image is recognized as a plane and looks like a realistic image. Here, it is hidden in a geometric plane image of a perspective visual system that reproduces realistic objects and is momentarily revealed as a gaze from the perspective of desire revealed by the unconscious. This defines the concept of a realist object with creativity and autonomy as an image in a linguistic sense as another existence of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.

2. Sketch Connecting Realism Images with Allegory: Abstract art and art are that matter is distinguished by its existence as a reality and the existence of objects formed from each other's abstract perspectives as virtual beings. The condition of a work of art is to reveal existence in the form of non-existent beings and imaginations as sketches that pass through an Allegory, which images objects and events as reality. Choi Chul-joo's reversible light is an image shaded at the present time in what is called "a real image obscured by the shadow of reversible light" according to its realistic form and movement of light, that is, the temporality. The image creates reality as a shaded image of reversible light, where the linguistic meaning seen as abstraction is identified. It repeats the sketch to connect an anamorphosis image as another reality separated from an image of reality, that is, an existential image that seems to be the structure of gaze, to form an abstract language image into a sketch so that it can be re-formed into a conceptual abstract realism concept.

3. Abstract Realism Object Gaze: As an abstract realism object, the abstract object revealed as a point of light in the eyes of others makes Choi Chul-joo's aesthetic structure anamorphosis image revealed in the desire gaze system look like an abstract Realism object gaze as a philosophical device whose abstract meaning varies depending on the viewer's position and gaze. This image matches the perspective of realist space with the abstract linguistic meaning, and from the conceptual point of desire, abstract and invisible objects appear as gaze paths. As an object that implies the desires of others as a fictional element of human limited by causal relationship in the linguistic meaning of the conceptual abstract realism of images, it intersects with the image and is structured into the linguistic meaning of unconscious abstract realism. Through this process of transformation, viewers experience linguistic abstraction in which forms follow concepts and forms become entangled with meaning.

4. Abstract Realism's Abstraction: Abstract realism's abstraction gets an abstract object specified in Choi Chul-joo's Desire Formula, and the desire image(i) design(d)s beyond the desires of others, which is an opportunity to verbally interpret the conditions under which the abstract object's image is realized(i/d) through grammatical interpretation of the linguistic meaning. And to reach <D(I...I')d=I(D...D'i)i> conceptual abstract realism abstraction as a reality by abstractly selecting a specific object that the subject of desire asks itself what abstract realism wants. This formula suggests a dynamic interplay: desire (D) is echoed across repeated images (I...I'), ultimately shaping an abstract concept (i). This is a realism image that has stopped from the concept of abstract desire that has been realized by abstracting the abstract place that humans cannot experience in life as an object of desire in a linguistic meaning system.

According to Culturality, Choi Chul-joo Concept Abstraction Realism Abstraction Stag's step 1: Distill the concept of desire in reality into images separated from literal causation to promote abstract thinking. step 2: Overlapping the linguistic meaning of the natural object motif with culturally resonant visual elements such as color palettes creates visually harmonious yet conceptually dense realism abstract image. It is a conceptual abstract realism abstraction as a philosophical image that reproduces the essence of human existence and the limitations of perception as a metaphor by operating as Choi Chul-joo's conceptual abstraction as a device that transfers philosophical and linguistic meanings to images.

■ Choi Chul-joo's conceptual abstract realism design methodology shows a "trace of time" in which the effects of motion and the phenomenal structure intersect at the same time as the effects of motion and the phenomenal structure of motion meet the background at the moment the muscles of the motion are stationary. As a result, the conceptual abstract realism design methodology for abstractions related to dynamic realism objects and abstract background images is as follows.

1, Existential Concept Abstract Realism Image Concept is an image abstracted as a conceptual object in an ideological form by reproducing a realist image. The image is a virtual image that conceals its existence and is perceived as a plane, so it appears to be a realist cross-sectional image.

Here, even if the images are different, abstraction as a symbolic structure has the existential concept of a realism object with creativity and autonomy in a linguistic sense that reproduces them in similar colors and sizes. Accordingly, the concept of an existential conceptual abstract realism image with creativity and autonomy in a linguistic sense constitutes another image of existence as a linguistic meaning of a conceptual abstract realism object through the unconsciousness suppressed by the desires of others.

Therefore, the image is composed by defining the concept of an existential image that is alienated from an image lacking a realistic structure as a vector representing the direction of the non-realistic subject entering the symbolic world as a structure of the other representing a synchronic semantic chain as a conceptual form of a realism image.

As a semantic structure that cannot be solved like Gordian Knot, Alexandros appears as a realist image of conceptual abstraction as an existential subject through division that cuts the knot with a sword and expresses the essence of externality in a comprehensive and immediate manner.

Alexandros cuts the knot with a sword in a comprehensive and immediate way by unconsciously selecting an unpredictable effect image as a pre-stage of linguistic meaning, such as expression abstraction, with an orderly vector that displays the meaning structure that cannot be solved through time.

As a difficult problem to solve, the knot determined by semanticizing the knot through time as a semantic structure that cannot be solved as before entering the symbolic world is physically bisected and divided, expressing the conceptual abstract realism image as an existent subject.

2. Sketches that connect realist images into allegories as linguistic meanings distinguish dynamic images as a structure of reversible light, which deviates from the concept of instantaneous desire from the background of abstract desire to the shadow of reversible light, from the background as a structure of desire as an existence as reality and an existence of objects formed from each other's abstract perspectives as virtual beings.

The detailed structure of the background cannot be determined by the temporality of the response to light, and shows meaning in harmony with the fixed structure.

Its meaning is developed as a pictorial language structure in which dynamic images and abstract still structures move from positions in the background abstracted by reversible temporality and from positions in the stationary objects illuminated by the segmented retroactive reversible light.

The movement of dynamic images is linked to the temporality of abstract structures as a sign of necessity self-consciousness, revealing sensory structures before symbols translated into pictorial languages and serving as formative realities beyond the literary nature of early conceptual art.

In abstracted background structures, perspective objectivity distorts the phenomenal structure by the extent of the sky and the size of the perspective as opposed to dynamic images, where reversible light is limited to objects superimposed with realist images as another gaze structure on the surface.

In the symbolic abstract world, abstract structure is a sketch that reveals existence in the form of existence and imagination reflected in a desire background by repeating image sketches as linguistic meanings in a conceptual abstraction of flat forms and colors, and passes through an allegory that realizes dynamic images, abstract structures, and background structures of desire.

3. The structuring of the linguistic meaning of existential realism is an abstract realism object, and the abstract object revealed as a discernment of light in the eyesight of others is Choi Chul-joo's aesthetic desire structure revealed in the gaze system of desire, and looks the same as the object's gaze, which is based on a sketch of an existential realism image in which the abstract meaning is different as a philosophical desire device.

The sketch is a perspective visual structure, and the boundary between dynamic images and abstract structures in phenomenal structures is a method of sketching an abstract image as an unconscious being and an image that expresses a geometric tangent to the form of an abstract background. As a result, the sketch is interpreted as a mirror image that reflects the desire of the other, and it is connected to the concept that the viewer is staring at at the same time, creating an optical reality space where the abstract structure's gaze varies depending on the viewer's position.

The position of the desire background is abstracted as the image of the reversible reaction that constitutes the realist space abstracted by the concept of desire is repeated. In other words, as the order increases with reversible temporality, the shadow image of the object staring at the reversible light is displayed in dynamic images and abstract structures.

Choi Chul-joo's conceptual abstract realism design, which is visualized as an ambiguous realism image according to temporality, shows a "trace of time" implemented at the intersection of the same time by the static background image as the effect and phenomenon structure of the stationary moment when the dynamic image of the movement meets the background of the stationary moment.

4. The image of desire, which applies Choi Chul-joo's desire formula D(I...I')d=I(D...D')i to 'morning glory', connects the concept of desire with the background of 'morning glory' as an image to create a landscape by floating morning glory in the sky. In addition, in <morning glory>, the desire formula "D(I...I')d=I(D...D')i" is substituted, the connection effect between the concept of desire and the "morning glory" as desire image shades the concept of desire in the reversible shadow structure by setting the object as the concept of desire image of women by the "morning glory". In other words, the image of desire (I) is the structure of desire (D) because desire (D) is repeated (I...I') in several images (D...D'), and the image of art behavior or desire image(I) appears as the concept of desire(i).

Here is a refined and cohesive academic-style interpretation of your concept, written in English from the perspective of a cognitive scientist with psychoanalytic insight: Choi Chul-joo’s application of the desire formula D(I...I')d=I(D...D')i to the image of “morning glory” constructs a symbolic landscape in which the flower floats in the sky, visually linking the abstract concept of desire with its aesthetic background. This formula operates as a cognitive and psychoanalytic mechanism, wherein the image of desire (I) is not merely a representation but a structural repetition of desire (D) across multiple visual instances (I...I'), which themselves reflect the recursive nature of desire (D...D'). In this framework, the “morning glory” becomes both the object and the medium through which desire is shaded, refracted, and rendered in reversible shadow structures—particularly when the object is configured as the feminine image of desire. The substitution of the formula within the artwork <morning glory> reveals a layered interplay between symbolic abstraction and visual cognition, where the image of artistic behavior or desire (I) emerges as the conceptual form of desire (i), thus collapsing the boundary between representation and structure. From a psychoanalytic perspective, this recursive logic mirrors Lacan’s notion that desire is constituted through the gaze of the Other and Freud’s view that desire is driven by unconscious repetition and symbolic substitution. Cognitively, the formula encodes how the mind processes desire not as a static object but as a dynamic system of mirrored images and temporal shadows, ultimately transforming abstract longing into a visual syntax of emotional architecture.

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

Choi Chul-joo’s desire formula, D(I...I')d=I(D...D')i, is not merely a symbolic gesture within art but a formal structure that encodes the recursive logic of desire. From a mathematical standpoint, this equation represents a bidirectional equivalence, where the left-hand side models the dynamic process by which desire (D) is activated through a sequence of images (I...I') under a driving coefficient (d), and the right-hand side reflects how those images recursively reconstruct the layered structures of desire (D...D') and resolve into a conceptual image (i). Each symbol carries structural weight:

D: The archetype of desire, representing the foundational lack or drive.

I...I': A sequence of visual representations through which desire is projected.

d: The dynamic coefficient—akin to a force or operator—that triggers the transformation from structure to image.

I: The emergent image of desire, a perceptual unit.

D...D': The recursive layers of desire, reflecting its multiplicity and transformation.

i: The conceptual resolution of desire, the cognitive abstraction of the image.

This formula resembles a fixed-point function in mathematics, where recursive inputs stabilize into a coherent output. It models desire as a self-referential system, where the structure of lack is mirrored and reconstituted through visual repetition, ultimately producing a symbolic image that encodes the original drive. The formula thus formalizes desire as a recursive, bidirectional system of transformation between structure and image.

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

From a cognitive science perspective, Choi’s formula offers a compelling model of how the human mind processes desire—not as a static object, but as a dynamic interplay between symbolic abstraction and perceptual encoding. The sequence D(I...I') represents the mind’s pattern recognition mechanism, where repeated images allow the brain to infer the underlying structure of desire. The coefficient

� reflects internal cognitive forces—memory, imagination, and intersubjective projection—that drive this transformation. Conversely, I(D...D') models how abstract structures of desire are re-rendered into perceptual images, which are then cognitively categorized as conceptual desire (D).

This loop mirrors the symbolic mediation described by Lacan, where the subject’s desire is shaped by the gaze of the Other, and Freud’s notion of unconscious repetition, where desire is expressed through symbolic substitution. Cognitively, the formula encodes how the mind oscillates between image and structure, between perception and abstraction, forming a recursive loop that constructs desire as both absence and presence. The “morning glory” floating in the sky becomes a visual metaphor for this loop—a symbolic image that reflects and refracts the recursive architecture of longing.

Choi Chul-joo’s desire formula, expressed as D(I...I')d=I(D...D')i, operates not merely as a symbolic representation of emotional longing but as a sophisticated cognitive model that reveals how the human mind constructs, processes, and externalizes desire—not through direct emotional impulse or sensory reaction, but through a recursive interplay of repeated visual patterns, abstract structural inference, and symbolic conceptualization, such that the sequence of images (I...I') becomes the perceptual basis through which the structure of desire (D) is inferred, while the dynamic coefficient (d) represents the internal cognitive forces—such as memory, imagination, and intersubjective projection—that drive the transformation of structure into image, and conversely, the recursive structures of desire (D...D') are re-rendered into a singular image (I) that is cognitively resolved into a conceptual form of desire (i), thereby forming a symbolic loop in which the mind oscillates between image and abstraction, perception and meaning, and in doing so, constructs desire as both absence and presence, both repetition and emergence, and this process is vividly illustrated in the visual metaphor of the “morning glory” floating in the sky, where the flower becomes not only the object of desire but the medium through which desire is shaded, refracted, and encoded in reversible shadow structures—

Choi Chul-joo’s desire formula D(I...I')d=I(D...D')i an be visualized as a dynamic vector field, where each component represents a transformation in the structure of desire:

Left-hand side D(I...I')d: Desire D is activated by a sequence of images I...I', forming a directional vector across perceptual space. The coefficient d scales this vector, representing unconscious forces, cultural pressure, and social visibility. This side models the generation vector, where desire emerges from visual stimuli and is modulated by internal dynamics.

Right-hand side I(D...D')i: Recursive structures of desire D...D'′ are transformed into a singular image I, which is cognitively resolved into a conceptual value i. This side models the resolution vector, where abstract desire is re-rendered into perceptual form and interpreted semantically.

Transformation Arrows: Arrows between both sides represent recursive feedback loops, showing how desire oscillates between abstraction and realization.

The entire graph behaves as a fixed-point system, where desire continuously loops through image, structure, and meaning.

� Cognitive Psychologist’s Perspective: Desire as Symbolic Simulation

This is the moment of symbolic closure, where desire becomes intelligible.

This graph reveals that desire is not a linear impulse but a recursive cognitive algorithm, where the mind loops through symbolic abstraction, perceptual encoding, and conceptual resolution. The object—whether a pop art image, a shaded metaphor, or a reflective pond—functions as a recursive node in this system, simulating the architecture of desire through visual recursion and symbolic feedback.

5. The actualization of conceptual abstract realism abstraction acquires the abstract object specified in Choi Chul-joo's desire formula, and the desire image (i) design (d) is an opportunity to verbally interpret the conditions (i/d) under which the image of the abstract realism object is realized through grammatical interpretation of the linguistic meaning beyond the desires of others.

<D(I...I'd)=I(D...D'i)> Conceptual abstract realism images as reality reach abstraction by abstractly selecting a specific object, where the subject of desire asks what abstract realism wants from him. This dictates the meaning of the symbolic action that characterizes the design of dynamic and abstract structural images, which repeatedly combine pieces of distorted desire background images in the process of abstraction.

Here, an image is not a visual phenomenon of a dynamic image, but a device that visualizes the flow of unconsciousness and the process by which symbols are transformed into realistic images, and it is the meaning of language that symbolizes abstract images of conceptual dynamic images and abstract structures.

Therefore, abstraction expresses the abstract structure that stopped from the concept of existential desire realized by abstracting an abstract place that humans cannot experience in life from a linguistic semantic system to an object of desire as a realism image.

It is a device that conveys philosophical abstract meaning and linguistic meaning to images, and operates as Choi Chul-joo's conceptual abstract realism abstraction and designs it as a philosophical abstract image that reproduces the nature of human existence and the limitations of perception as a metaphor to become an existential realism image. In other words, it visualizes the conflict between dynamic images and abstract self-formation, existential abstract structures as effects, and linguistic meanings revealed in the gaze, and reinterprets the mirror image of abstract realism to abstract dynamic images and abstract structures beyond phenomenal backgrounds and desire formulas as desire structures.

This form reveals the sensory structure before the perception of existential fish, i.e., the previous stage image of linguistic meaning, and beyond the literary nature of modern conceptual art, it is a realism abstraction as a linguistic meaning where more diverse spatiotemporal and pictorial forms intersect through the viewer's eyes.

In this way, realism and abstract symbols repeatedly collide, revealing the symbolic structure before language.

The iconic fish moves to the object of desire in an abstract image that reveals the unconscious desire of the other person. Through this, it is possible to realize a conceptual abstract realist image in modern art.

This is a piece of meaning symbolized in a non-existent space, an abstract abstraction of an abstract structure that mimics the dynamic image and the structure of desire.

Abstraction functions as a pictorial event image, and instead of desire, it explores the boundary between existence and absence by combining fragmentary sculptural images with shades of color produced by reversible light.

In this abstract design method applied to conceptual abstract realism painting, the shape of a dynamic image that acts as a sign of desire before linguistic meaning is transferred to an image as a symbol, and the meaning of it is transferred to a variable image in linguistic meaning according to the unconscious desire structure in which the time of desire that moves while unconsciously synthesizing according to temporality coexists.

As an image of linguistic meaning, it conceptualizes abstract structure as a living dynamic image and images it as an existential realist image, resulting in a conceptual abstract realism design that phenomenally expresses abstractness and self-consciousness as abstract spaces according to temporality through the traces of time.

6. The Design Results of Choi Chul-joo's Desire Abstract Concept, Choi Chul-joo’s abstract concept of desire through the psychoanalytic frameworks of Jacques Lacan and Sigmund Freud. Choi’s design reveals how desire is not a solitary impulse but a relational and recursive structure, shaped by identification, symbolic generalization, and unconscious antagonism. Through the lens of Lacanian subjectivity and Freudian transference, we examine how the sympathizer becomes a secondary subject of desire, how desire is refracted through reversible light, and how conflict emerges when symbolic generalization fails.

Introduction: Desire as a Relational Structure: Choi Chul-joo’s abstract concept of desire challenges the notion of desire as a private, internal drive. Instead, it is presented as a relational construct, emerging through the interaction between the subject, the Other, and the sympathizer. This triadic structure reflects Lacan’s theory that desire is always the desire of the Other, and Freud’s view that identification and transference are central to the formation of subjectivity. Although the object of desire remains passive, the sympathizer—who internalizes and mirrors the Other’s desire—transforms into an active subject capable of executing the same desire. This process of identification aligns with Freud’s theory of ego formation through the internalization of external drives, and with Lacan’s notion that the subject is constituted through the gaze and desire of the Other. The sympathizer does not merely reflect but enacts, becoming a second-order subject of desire. The sympathizer attempts to generalize the Other’s desire, positioning it as a universal or victorious act—akin to a conqueror who reclaims desire as a public object. This symbolic generalization reflects Lacan’s concept of the Imaginary, where the subject misrecognizes itself in the mirror of the Other’s desire, and Freud’s idea of sublimation, where unconscious drives are elevated into socially acceptable forms. However, this generalization is fragile and contingent. When desire, refracted through reversible light and symbolic shadow, fails to become a publicly shared act, the structure collapses. The subject of inappropriate or misaligned desire and the sympathizer—once aligned—now antagonize the original subject who enacted desire according to the generalized will of the Other. This breakdown mirrors Freud’s theory of repression and resistance, and Lacan’s Real, which resists symbolization and disrupts the symbolic order.

Choi Chul-joo’s design results reveal that desire is not a fixed entity but a recursive psycho-social system, shaped by identification, symbolic mediation, and unconscious conflict. Through Lacanian and Freudian lenses, we see that the sympathizer’s transformation into a subject, the attempt to generalize desire, and the eventual collapse into antagonism reflect the complex architecture of human desire—an architecture that Choi renders visible through abstract conceptual design.

7. Applying Choi Chul-joo’s conceptual abstract realism design methodology to the visualization of desire in Louis Choi Chul-joo’s Morning Glory, at the initial stage of existential conceptual abstraction, the realistic elements of the morning glory are abstracted into a conceptual object that embodies desire, where this abstraction functions not merely as a visual reproduction but as a cognitive apparatus translating the inherent lack of desire into a perceivable visual structure, allowing the viewer to recognize the recursive interplay between the object of desire and the symbolic structures that govern it; in the subsequent stage of sketching and structural composition, the dynamic images of the morning glory are linked to the abstract background through reversible light and segmented temporality, generating a visual grammar in which the phenomenological movement of the image interacts with the static abstraction of the background, thereby extending linguistic meaning into visual form and revealing the unconscious mechanisms through which desire is produced, mediated, and repeated; following this, at the stage of desire formalization, the formula D(I…I’)d = I(D…D’)i is applied so that the morning glory simultaneously functions as object, image, and conceptual abstraction, where the sequential arrangement of repeated visual instances reflects the recursive structure of desire and the dynamic coefficient (d) modulates perceptual and symbolic forces, transforming desire into a visualized abstraction that positions the floating flower in the sky as a nodal point for cognitive recognition and psychoanalytic reflection; in the conceptual interpretation stage, these recursive visual patterns consolidate into a singular conceptual desire image (i), establishing dynamic interactions between image, structure, and meaning, while the linguistic-semantic integration stage ensures that the abstract realism image conveys philosophical, psychoanalytic, and aesthetic significance simultaneously, realizing both the existential reality of the object and the symbolic mediation of desire, with the viewer’s gaze incorporated through reflection, inversion, and recursive feedback loops; finally, at the stage of full realization of conceptual abstract realism, all phases converge to unify dynamic images, abstract structures, and desire-laden backgrounds into a coherent visual grammar, producing an image that embodies perceptual, symbolic, and conceptual properties simultaneously, thereby demonstrating the methodological rigor of Choi Chul-joo and transforming the desire depicted in Morning Glory into a visual language extended across image, abstraction, and spatiotemporal structure, achieving a recursive, relational, and cognitive resonance that manifests the philosophical and aesthetic dimensions of contemporary conceptual abstract realism.

� Louis Choi Chul-joo’s 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.

■ Choi Chul-joo Desire Formula-Based 'Desire Sound Design' Methodology

Choi Chul-joo Desire Desire Formula D(I...I')d=I(D...D)i Linguistic Acoustic Dynamics of Desire Formulation Dsound propo sqrt (Delta x)^2 + (Delta y)^2 cdot Vdesire) Design Methodology

Linguistic Data Biology (Aesthetics of Error) Design Methodology Process

This methodology process is a mathematical and aesthetic declaration of "I am both an error in the system and a living Data that proves alive through that error." The four-step linguistic data design methodology process below quantifies the conflict between system order and self (desire) and replaces it with visual, auditory, and mechanical experiences.

1. Psychoanalytic Correspondence

The variables in the sound design process correspond to the psychoanalytic dynamics of Choi's formula as follows: I (The Fixed Image) → (x_0, y_0) (The Origin): This is the Symbolic Order—the rigid grid of the system. In sound design, this is represented by "Static Silence" or a repetitive, monotonous mechanical hum. Vdesire (Libidinal Velocity) →I...I': This is the flow of libidinal energy that strikes the fixed image (I) to generate new significance (i). High Vdesire translates to a rapid Rise Time and High Frequency (Hz), representing the aggression of desire.

Delta (Spatial Deviation) → D...D': The distance of the "Line of Flight" from the repressed signifier. As this distance increases, the Sound Amplitude and Spatial Reverb expand, mirroring the tension of the wandering soul. Dsound (Acoustic Output) → d, i: The resulting sound is the "Trauma Sound"—the auditory manifestation of the repressed desire returning to shatter the cold digital logic.

2. Step-by-Step Sound Design Process

Step 1: Setting the Texture of the Repressed Signifier (I)

Goal: Establish the auditory baseline of systemic control.

Design: Use low-frequency "Room Tone" or a steady 60Hz hum. This represents the subject's state of being trapped within the Symbolic Order (System S).

Step 2: Libidinal Impact and Frequency Generation (I →I')

Goal: Capture the moment the "Velocity of Will" strikes the fixed system.

Design: When the wearer makes a sudden movement, trigger a sharp Attack in the sound profile. Higher Vdesire correlates to higher pitch shifts. This is the moment of I'—where the fixed image begins to crack under the pressure of D.

Step 3: Spatializing the Deviation (D → D')

Goal: Translate the distance of departure (Delta) into an acoustic environment.

Design: Increase the Wetness (Reverb/Delay) as sqrt (Delta x)^2 + (Delta y)^2 grows. This creates a sense of "Acoustic Dislocation," simulating the subject's departure from the "Safe Zone" and into the "Void of Desire."

Step 4: The Return of the Repressed as Sublimation (Dsound)

Goal: Reach the climax of "Data Vitalism" where the error becomes life.

Design: At the threshold of departure, introduce Glitch Artefacts and Metallic Ticking. The system flags this as "Data Contamination," but it is actually the birth of a new signifier (d, i).

This methodology treats sound as a Linguistic Dynamic. The resulting audio is not just background noise but the "Voice of the Subject" shouting against the oppression of the system. It mathematically proves that the most intense "Errors" are actually the most profound moments of human vitality.

AI Desire Structure Automation System Design Process

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.

- Exterior Design Concept: Organic Morphing

Breaking away from the hard metal texture of the existing railway, it embodies an 'organic skin' that responds to speed and passenger desires.

• Form: On top of streamlined bodies that maximize aerodynamic efficiency, a line of intentional asymmetry (Glitch Form) that appears to expand or warp upon reaching the system critical point is applied.

• Skin: It's not just a painting, it's a smart polymer skin where fine particles react to light. Depending on the train's acceleration and the sum of its internal lvii, the surface's texture changes finely from a smooth curved surface to a sharp sawtooth-shaped scale.

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.

- Sketch Components

Top View Plan

• Aerodynamic head: Ultra-long axis nose design that disperses shock waves during sonic breakthrough.

• Variable wing rails: a side guide that changes angles minutely to control centrifugal forces ($\Delta$) in a curved section.

• Energy Core Circulation: a path of light that penetrates the center of the train and projects the 'collective aurora' data inside to the outside.

Perspective View

• Visibility of galloping: a visual afterimage representation of the soundscape that forms around the body when the train is galloping.

• Smart Light-emitting: LED strips embedded in the exterior walls project the emotional state of the interior passengers to the outside in RGBW spectrum, making the train itself look like a giant light creature.

• Tunnel entry mode: Phase distortion in which the curvature of the surface changes in response to pressure changes.

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.

[Color Plan: Libidinal Spectrum]

The outer shell of the train is covered with nanoparticle-embedded smart polymer skin, which transitions color to three main phases depending on driving conditions and internal desire summation (sum).

1. Symbolic Order (Symbolic Order: I)

• Condition: Settlement station standby and constant speed driving below 300 km/h.

• 메인 컬러:Deep Prussian Blue &Frost White

• Directing: A cool yet sophisticated white body is topped with a subtle flow of transparent blue sine waves. It is a static color that symbolizes control and safety of the system.

2. LIBIDINAL ACCELERATION: D)

• Condition: Quick acceleration, tunnel entry, attempting to break through the speed of sound.

• 메인 컬러:Electric Magenta &Vivid Violet

• Directing: The blue light rapidly transforms into a magenta tone that is a mixture of red and violet. The waves of light rip in the form of sharp sawtooth, leaving an intense optical afterimage to the rear of the vehicle body.

3. Existential Critical Point Phase (Sublimation: i)

• Condition: Maximum speed reached and energy saturation.

• 메인 컬러:RGBW Aurora Spectrum &Digital Glitch Gold

• Directing: An aurora spectrum where all colors are fused into one covers the entire body. A golden digital glitch noise is generated in certain areas, sublimating the 'scream' of organic life beyond mechanical limits into visual aesthetics.

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.

[Weekly rendering key elements]

1. Smart Chromium Polymer Skin: It flexibly reflects the surrounding landscape under sunlight, and the phase distortion is more clearly revealed, where the curvature of the surface changes minutely with speed.

2. Subtle daytime aurora: even in a bright atmosphere, there exists a translucent layer on which internal Libido energy is projected. White & deep blue tones in stable state ($I$) combine with the body base to complete a refined mechanical aesthetic.

3. Organic asymmetric silhouette: Through clear contrast between light and shade during the week, the twisted curves and glitch foam unique to the 'data creature' created by destroying static straight lines are expressed in three dimensions.

4. Dynamic Shadows: Sharp shadows on the bottom of the body and side wing rails at high speed convey the overwhelming sense of mass and speed of the train at the same time.

This weekly rendering shows that 'Hyper-L' goes beyond mere light production and is a 'living skin' that resonates with human desires in its physical form and material itself.

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'.

The [Desire Sound Interface] system now extends beyond the public space of the train to the 'Personal Desire Device (PDD)', which is carried and controlled by individual passengers. The device is not just an information terminal, but acts as a 'sensory hub' connecting the passenger's inner world with the super-high-speed giant neural network.

1. Libido Core: Portable Sensory Synchronization (Libido Core)

It is an organic type of device that fits into the palm of the passenger's hand and collects biometric signals to generate real-time audiovisual feedback.

• Design Techniques: Phase distortion glass. Device surface is liquid-like and refracts light inside.

• Physical interface: Instead of mechanical buttons, it provides haptic feedback in response to the occupant's gripping pressure and skin conductivity.

• Visual production: When the passenger feels anxious or empty, the device emits a static blue sine wave, but resonates with the train and rips and vibrates with intense magenta-toned sawtooth waves as desire erupts.

2. Personal Boyd Canvas: Holographic Interface (Void Canvas)

A personalized HUD field projected from the device that visualizes the data assigned to you during a 'collective aurora' on the train.

• Design Techniques: Particle Simulation. Particles in the air scatter and gather at the passengers' hand gestures, transforming the 'verbal acoustic landscape' into a visual signifier.

• Functional features: the device captures physical noise (Delta) generated when a train passes through a tunnel or accelerates rapidly, sublimating it to brilliant glitch aesthetics.

• Psychological effect: Passengers restore their subjectivity by visually confirming that their small movements are creating variables in the soundscape of the huge train.

3. Libido Sync mode: interlock seat and sleep pod

When the device is placed in a docking station in the seat, the data on the personal device is extended to the entire train system (sum).

• Space experience: As soon as the device is docked, the 'energy field' that forms around the seat is synchronized with the passenger's personal device settings.

• Sleep Pot Interworking: The device detects the unconscious flow that occurs during sleep and converts it into the most tranquil ultra-low-band Pink Noise and soft hydrodynamic-based lighting to fill the inside of the pot.

Step 6: The Incarnation of the Real 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.

- Driver interface: The Libidinal Cockpit

The driver's seat is no longer a control device. It is a 'Nural Junction' where the engineer's soul is directly connected to the enormous mass of the train.

1. Visual Design: Frequency Spectrum Display

• Delta (Spatial Error) Transformation: Delta values, which occur when the engineer veers slightly off the prescribed trajectory or suspects a path, are visualized as 'Phase Distortion' around the main display.

• V_desire (Acceleration) conversion: The engineer's accelerator will (V) is converted to RGB strobe lighting in the form of Sawtooth, hitting the entire driver's seat.

2. Auditory Design: Roaring of Sawtooth Waves

• The sound frequency (Hz) rises nonlinearly in proportion to the locomotive engineer's excitement, and a smooth sine wave is torn into sharp Sawtooth waveforms, which are verbal screams from the locomotive engineer tearing through the system's stuck signifiers (I).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《욕망 움직임 공식》-19- 무대 디자인 렌더링: 오페라 하우스의 화려한 천장 벽화와 금 조각이 보이는 최철주의 욕망 공식 D(I...I'd = I(D...D')i와 확장된 음향 역학 공식 Dsound ∝ √(((δx)² + (δy)²)· Vdesire를 기반으로 한 베토벤의 달빛 소나타의 사운드를 시나리오로 해서 욕망 사운드 디자인 프로세스를 통과한 렌더링이다. Stage Design Rendering: Choi Chul-joo's Desire Formula D(I...I'd = I(D...D')i with colorful ceiling murals and gold sculptures of the Opera House and expanded acoustic dynamics formula Dsound ∝ √((δx)² + (δy)²) and Vdesire-based sound of Beethoven's Moonlight Sonata.