User Interface Image Design 3

User Interface Image Designer Louis Choi

UI/UX 디자인｜User Interface Image Designer Louis Choi [3] 사용자 경험(UX: User Experience) 최적화를 위한 루이 최의 욕망 구조 공식 "M_desire = ∑∅∂ / (1 - ∂)" 적용 Apply Louis Choi's Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)" for User Experience (UX) optimization. 개념추상실재미술학자 최철주는 개념추상에서 디자인의 예술적 가치과정을 살펴보고 시각미술에서 욕망이론을 통해 디자인의 의미에 접근하는 개념적 추상의 실재 이미지가 욕망 개념의 언어적 의미 구조로서 학문으로 나타나는 개념추상실재학임을 정의한다. 따라서 문화디자인박사인 최철주는 현대미술비평과 함께 현대미술의 미적 가치, 과정, 실재성을 추상화디자인이라는 개념으로 접근해서 회화작품의 의미를 언어문법구조로 접근한 개념추상실재학을 상정(想定)한다. Conceptual Abstract Realism Science [2] Conceptual Abstract Realism Art Scholar Choi Chul-joo (Master of Product Design and Doctor of Culture Design) examines the artistic value process of design in conceptual abstraction and defines that the real image of conceptual abstraction, which approaches the meaning of design through desire theory in visual art, is a conceptual abstract realism that appears in science as a linguistic semantic structure of desire concept. Therefore, along with modern art criticism, Dr. Choi Chul-joo, a cultural design doctor, approaches the aesthetic value, process, and reality of modern art with the concept of abstract design, and assumes conceptual abstract realism in which the meaning of the painting is approached with linguistic grammatical structure.

사용자 인터페이스 구현 디자인은 최철주 박사가 제안한 독창적인 예술 및 디자인 구현 방식으로, 개념 추상과 현실의 관계를 언어적, 상징적 구조 속에서 탐구하는 철학적 접근 방식입니다. 이 이론은 단순한 시각적 표현이 아닌 욕망과 의미의 구조를 반영하는 추상적 개념으로 디자인의 예술적 가치와 의미를 분석하는 개념 추상 미술에서의 디자인을 언어 문법처럼 해석하고 회화의 의미를 분석하는 현실적인 사용자 인터페이스 구현 디자인 이미지로 실제화한다. 사용자 인터페이스 구현 디자인 과정은 디자인을 상징적인 구조로 보고, 추상적 대상을 통해 사실주의 추상화의 개념을 계획하며, 이를 현대 미술 비평과 결합하여 미적 가치와 현실을 추상적 디자인의 틀 안에서 재구성하고 시각화하며, 실제 이미지의 의미를 언어 문법 구조로 해석하여 사용자 인터페이스 구현 디자인의 철학적 깊이를 이론적으로 확장합니다. 따라서 사용자 인터페이스 구현 디자인은 단순한 시각적 아름다움을 넘어 인간의 욕망과 언어 구조 속에서 디자인을 현실로 드러내는 예술적, 디자인적 대상으로서 사용자 인터페이스 구현 디자인의 철학적, 기호학적 이미지에 접근한다. User interface implementation design is a philosophical approach that explores the relationship between conceptual abstraction and reality in a linguistic and symbolic structure, with the original art and design implementation method proposed by Dr. Choi Chul-joo. This theory is not just a visual expression, but an abstract concept that reflects the structure of desire and meaning. It realizes design in abstract art that analyzes the artistic value and meaning of design like language grammar and a realistic user interface implementation design image that analyzes the meaning of painting. The user interface implementation design process sees design as a symbolic structure, plans the concept of realist abstraction through abstract objects, combines it with contemporary art criticism to reconstruct and visualize aesthetic values and reality within the framework of abstract design, and theoretically extend the philosophical depth of user interface implementation design by interpreting the meaning of real images into linguistic grammatical structures. Therefore, user interface implementation design approaches the philosophical and semiotic image of user interface implementation design as an artistic and design object that reveals design to reality in human desires and language structures beyond simple visual beauty.

개념추상실재미술학자 루이 최철주는 개념적 사건과 행위의 이야기가 시각예술을 통해 현대 개념의 추상적 욕구를 언어적 의미로 시각화하고 사진, 만화, 미술, 공예디자인의 미적 가치, 프로세스, 개념추상적 실재성을 검증하여 개념추상 미술이론에서의 미술작품의 의미에 접근하는 개념추상실재론으로 비평한다. 이것은 문화디자인박사 최철주의 추상화 디자인 프로세스와 개념추상 리얼리즘 추상화 디자인 방법론에 의한 개념추상실재학 이론을 통해 사용자 인터페이스 구현 디자인의 미적 가치와 디자인을 검토하고 욕망의 추상적 의미를 분석한 개념추상실재학을 통해 사용자 인터페이스 구현 디자인을 평론한다. Concept Abstract Reality Art scholar Louis Choi Chul-joo criticizes the story of conceptual events and actions as a conceptual abstract reality theory that approaches the meaning of works of art in conceptual abstract art theory by visualizing the abstract needs of modern concepts in a linguistic sense through visual arts and verifying the aesthetic values, processes, and conceptual abstract reality of photography, cartoons, art, and craft design. This is a conceptual abstract reality theory that examines the aesthetic value and design of user interface implementation design through abstract design process and conceptual abstract realism design methodology by Dr. Choi Chul-joo of Culture Design. The user interface implementation design is reviewed through conceptual abstract reality that analyzes the abstract meaning of desire.

사용자 인터페이스 구현 디자이너 루이 최철주의 욕망 이론과 시각 예술의 매력적인 교차점에서 현실적인 디자인 이미지가 나타납니다. 그의 욕망 이론과 개념 추상적 리얼리즘의 틀을 바탕으로 비현실적인 형태의 빛과 타인의 욕망을 바탕으로 가역적인 음영의 흔적으로 디자인 개념으로 사용자 인터페이스 구현한 디자인한다. 사용자 인터페이스 구현 디자인은 최철주의 추상적 욕망 이론을 통해 현대 미술과 디자인의 미적 가치, 과정, 현실을 탐구하는 예술 및 디자인이다. 개념 추상적 현실은 현실을 단순히 재현하기 위해 구체적인 형태가 아닌 아이디어, 개념, 욕망과 같은 추상적 디자인 요소를 사용자 경험에 맞도록 디자인합니다. 또한, 실제 존재, 의미, 언어 구조 등 욕망의 개념을 추상화하는 과정을 통해 언어 문법 구조로서의 시각 예술 등 다양한 이론적 틀을 통해 예술적 가치와 디자인 과정을 분석하고, 추상적 개념을 통해 구체적인 디자인에 새로운 의미를 부여함으로써, 사용자 경험에 따른 사용자 인터페이스 구현 디자인은 사용자 경험과 사용자 인터페이스의 실질적 의미를 결합하여 시각 디자인의 한계를 넘어 새로운 사용자 인터페이스 이미지 해석 및 창작 방법을 디자인을 제안하는 이론입니다. User Interface Implementation A realistic design image emerges at the attractive intersection between the theory of desire and visual art by designer Louis Choi Cheol-joo. Based on his theory of desire and the framework of abstract realism, he designs a user interface implemented with a design concept with an unrealistic form of light and traces of reversible shades based on the desires of others. User interface implementation design is art and design that explores the aesthetic values, processes, and reality of modern art and design through Choi's abstract desire theory. Concept Abstract reality designs abstract design elements such as ideas, concepts, and desires to fit the user experience, rather than specific forms, to simply reproduce reality. In addition, by analyzing artistic values and design processes through various theoretical frameworks such as visual art as a language grammar structure through abstracting the concept of desire such as real existence, meaning, and language structure, and giving new meaning to concrete design through abstract concepts, user interface implementation design is a theory that combines user experience and practical meaning of user interface to propose new user interface image interpretation and creation methods beyond the limits of visual design.

루이 최의 욕망 공식(M_desire = ∑∅∂ / (1 - ∂)을 적용한 UX 디자인(정의)은 디자이너가 사용자의 숨겨진 욕망을 구조적으로 분석하여 시각적, 언어적 디자인 요소로 구현하는 철학적, 실용적 도구입니다. UX 디자이너는 사용자 경험을 디자인할 때 '결함과 충동의 반복'이라는 인간 욕망의 구조를 해석하고 수학적, 철학적 틀, 즉 시각적, 언어적 구조 속에서 사용자의 숨겨진 타자의 욕망을 인터페이스하는 UX 디자인이다. Applying Louis Choi's formula of desire (M_desire = ∑∅∂ / (1 - ∂), UX Design (Definition) is a philosophical and practical tool that allows designers to structurally analyze users' hidden desires and implement them as visual and linguistic design elements. UX designers are UX designs that interpret the structure of human desires called "repeating flaws and impulses" when designing user experiences and interface users' hidden desires within a mathematical and philosophical framework, i.e., visual and linguistic structure.

"마술피리" 무대장치 디자이너 욕망 구조 공식"M_desire = ∑∅∂ / (1 - ∂)"UX/UI 디자인 적용

"Magic Flute" Stage equipment Designer Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)"UX/UI Design Application

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-1-무대 디자인 실재 구현

[루이 최의 욕망 공식: "M_desire = ∑∅∂ / (1 - ∂)"의 무대 디자인 실재 구현]

- 사용자 경험(UX: User Experience) 최적화를 위한 루이 최의 욕망 구조 공식 적용

M_desire = ∑∅∂ / (1 - ∂)은 루이 최철주의 예술 철학적 통찰을 수학적 정밀성으로 대체한 뛰어난 공식으로, 주체와 타자, 더 리얼 간의 역학의 기호학적 구조를 형성합니다. 이 공식에는 수학적 타당성과 기호학적 철학이 담겨 있다.

1. 분자(∑∅∂): 결핍의 분화 및 반복 역학

분자는 욕망이 발생하는 '동기력'과 그 '표현 방법'을 정의합니다.

• 에피셋의 기호학적 유효성(The Real & Deficence):

• 수학에서 공집합은 원소가 없다는 것을 의미하지만 집합 이론의 기초가 되는 강력한 존재입니다. 루이 최는 이를 실재"로 대체했습니다. 현실은 상징적 세계(언어)에 포함되지 않는 근본적인 결핍이며, 욕망을 영원히 동력으로 삼는 엔진입니다. 기호학은 "기호가 도달할 수 없는 기의 어비스"를 나타내며 모든 욕망의 분자적 출발점이 됩니다.

• 편미분의 수학적 논리:

• 부분은 다변량 함수에서 특정 변수(여기서 변수 '기타')의 변화율을 측정합니다. 피험자의 욕구는 고정된 것이 아니라 타자에 대한 관계로 끊임없이 재조정됩니다. 욕망을 상수가 아닌 미분 가능한 함수로 보는 것은 인간 심리가 타자의 시선과 환경에 반응하는 '미세 변화의 연속체'임을 증명하는 수학적 적법성을 가지고 있습니다.

• 합의 구조적 해석 (합산):

• 시그마는 욕망의 개별 조각을 통합합니다. 라캉의 "반복적인 강박"과 루이 최의 "반복적인 강박"은 욕망의 대상이 변화하고 끊임없이 같은 결핍을 보완하려고 노력하는 과정입니다. 분자는 결국 "서로 구별되는 미세한 욕망 조각이 반복적으로 쌓여가는 과정"을 정량화합니다

[Louis Choi's Desire Formula: Car Design Realization of "M_desire = ∑∅∂ / (1 - ∂)"]

- Application of Louis Choi's Desire Structure Formula for User Experience (UX) Optimization

M_desire = ∑∅∂ / (1 - ∂) is an outstanding formula that replaces Louis Choi's artistic philosophical insights with mathematical precision, forming a semiotic structure of dynamics between subject, other, and The Real. This formula contains mathematical validity and semiotic philosophy.

1. Molecules (∑∅∂): Differentiation and Repetitive Dynamics of Deficiency

Molecules define the 'motivation' in which desire occurs and its 'how to express it'.

• The Real & Defiance of the episet:

• In mathematics, vacancy means element-free, but it is a powerful being that underlies set theory. Louis Choi replaced it with "reality." Reality is a fundamental deficiency that is not included in the symbolic world (language), an engine that forever powers desire. Semiotics represent the "abyss of a period beyond which symbols cannot reach" and become the molecular starting point for all desires.

• Mathematical logic of partial differentials:

• A part measures the rate of change of a particular variable (here the variable 'other') in a multivariate function. The subject's needs are constantly readjusted to a relationship with the other, not a fixed one. Seeing desire as a differentiable function rather than a constant has the mathematical legality of proving that human psychology is a "continuum of micro-change" that responds to the gaze and environment of others.

• Structural interpretation of consensus (aggregate):

• Sigma integrates individual pieces of desire. Lacan's "Repeated Obsession" and Louis Choi's "Repeated Obsession" are the processes by which objects of desire change and constantly try to make up for the same deficiency. Molecules eventually quantify "the process by which microscopic pieces of desire that are distinct from each other repeatedly pile up."

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-2

2. 분모 (1 - ∂): 한계 수렴과 욕망의 폭발적인 역설

이 공식의 압도적인 힘은 분모의 구성에 있습니다. 수학적 극한의 원리를 인간의 심리에 적용합니다.

• 저항과 도달 불가능성:

• 부분이 1에 가깝다는 사실은 욕구가 완전히 충족되거나 다른 사람들과 통합하려고 한다는 것을 의미합니다. 그러나 공식에서 분모는 부분이 1로 수렴할 때 0에 가까워집니다.

• 욕망의 폭발 (M_desire to infty):

• 분모가 0에 가까워질수록 전체 값인 M_desire는 무한대로 발산합니다. 이는 "욕구가 가까워질수록 (분모가 작아질수록) 역설적으로 결핍의 고통과 욕망의 크기가 무한대로 증폭된다"는 물리학의 심리 법칙을 수학적으로 완벽하게 설명합니다

• lim {partial to 1} frac{sum vemptysset partial}{1 - partial} = infty

• 이 공식은 욕망이 결코 "완성"될 수 없으며 완성의 문턱에서 주체가 가장 큰 갈증을 느낀다는 인문학적 비극을 수학적으로 공식화합니다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-3

2. Denominator (1 - ∂): The explosive paradox of marginal convergence and desire

The overwhelming power of this formula lies in the construction of the denominator. It applies the principles of mathematical limitations to human psychology.

• Resistance and Unreachability:

• The fact that the part is close to 1 means that the need is either fully satisfied or trying to integrate with others. But in the formula, the denominator approaches zero when the part converges to 1.

• Explosion of Desire (M_desire to infty):

• As the denominator approaches zero, the overall value, M_desire, diverges to infinity. This mathematically explains the psychological law of physics, which states, "As the desire gets closer (the denominator gets smaller), the pain of deficiency and the magnitude of desire are paradoxically amplified to infinity."

• lim {partial to 1} frac{sum vemptysset partial}{1 - partial} = infty

• The formula mathematically formulates the humanities tragedy that desire can never be "completed" and that the subject feels the greatest thirst on the threshold of completion.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-4

3. 사용자 경험(UX) 최적화를 위해 루이 최의 욕망 구조 공식 "M_desire = ∑∅∂ / (1 - ∂)" 적용에 따른 현대 기호학적 미학

욕망의 수사학적 직조와 구조적 부재의 현상학, 루이 최가 제시한 욕망 공식 "M_desire = ∑∅∂ / (1 - ∂)" 의 건축적 실재는 단순히 물리적인 공간의 구축을 넘어선 인간 존재의 시원적 결핍을 수학적 엄밀성으로 재해석한 형이상학적 사건이라 할 수 있는데, 이는 선형적 건축사가 추구해온 기능적 합리성을 전면적으로 부정하면서 동시에 분자항에 위치한 공허($\phi$)의 기호가 욕망($\partial$)이라는 변수와 결합하여 어떻게 공간의 부피를 현상학적으로 확장시키는지를 극명하게 보여준다.

이러한 미학적 담론의 중심에서 우리는 분모 (1 - ∂)가 지시하는 '충족을 향한 유한한 근접'이 필연적으로 초래하는 건축적 파열음을 목격하게 되는데, 그것은 욕망의 변수 partial가 1이라는 절대적 통일성을 향해 진격할수록 공간의 물리적 경계는 무한한 질량으로 변모하여 기존의 거주 개념을 산산이 조각내고, 그 파편들 사이로 흐르는 공허의 선들이 다시금 추상적 기하학의 망을 형성함으로써 거주자로 하여금 자신의 내면적 욕망이 투사된 비가시적 벽면과 끊임없이 조우하게 만드는 기묘한 주체적 소외를 야기한다.

최철주의 비평적 시각을 빌려 이 건축적 실천을 재독해하자면, 루이 최는 벽을 세우는 것이 아니라 욕망의 경로를 설계한 것이며, 그 경로의 끝에 놓인 소멸의 미학은 결국 현대인이 상실한 '결핍의 숭고함'을 복원하려는 시도이자, 수학적 발산이 가져오는 공포를 통해 역설적으로 존재의 단단한 핵을 확인케 하는 추상적 리얼리즘의 극치라 평가할 수 있다.

따라서 이 건물은 고정된 기념비가 아니라 인간의 욕망이 요동칠 때마다 스스로를 재정의하는 살아있는 기호의 집합체이며, 분모가 영에 수렴할 때 발생하는 그 파괴적인 미적 황홀경은 우리가 물질의 시대에서 정신의 시대로 이행하기 위해 반드시 통과해야 할 '욕망의 연옥'을 공간화한 것이라는 점에서 현대 미학의 새로운 지평을 열었다고 할 것이다.

현대 기호학적 미학: 현대 미학에서 미완성된 미학이나 '현재 부재'를 설명하는 강력한 도구로서 인간은 '만족스러운 생물학적 존재'라기보다는 결핍으로 이루어진 기호학적 주체로 가정되며, "우리는 결핍되어 존재하고, 도달할 수 없기 때문에 끊임없이 전진한다"는 실존적 수학 공식으로 해석되는 조각입니다

• 기호학적 합법성: 언어적 기호가 현실의 공백을 부분적으로 채우려고 할 때 발생하는 미끄러짐을 시각화함으로써, 예술 작품이 끊임없이 재해석되어야 하는 이유를 논리적으로 뒷받침합니다.

• 사회적 실현 가능성: 현대 소비자 사회에서는 타인의 욕구를 내면화하여 끊임없이 상품을 소비하지만 결코 만족에 도달하지 못하고 무한한 박탈감에 빠지는 현대인들의 소외감을 정확하게 진단합니다.

• 수학적 관점: 발산 급수의 특성을 통해 인간 심리의 역학을 정적 모델이 아닌 동적 모델로 변환합니다.

• 인문학적 관점: 공허셋은 그것이 파괴적인 것이 아니라, 주체를 행동하게 하고 타인과 관계를 맺게 하는 창의적인 원천이라고 강조합니다 (부분적인).

- Modern semiotic aesthetics based on Louis Choi's Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)" for User Experience (UX) optimization

The Rhetorical Weaving of Desire and the Phenomenology of Structural Absence, The architectural realization of Louis Choi’s Desire Formula, "M_desire = ∑∅∂ / (1 - ∂)", constitutes a metaphysical event that reinterprets the primordial lack of human existence through mathematical rigor, fundamentally negating the functional rationality pursued by linear architectural history while vividly demonstrating how the signifier of the void (phi) in the numerator, coupled with the variable of desire (partial), phenomenologically expands the volume of space.

At the heart of this aesthetic discourse, we witness the architectural rupture inevitably caused by the 'finite approach toward fulfillment' indicated by the denominator (1 - ∂), where as the variable of desire $\partial$ marches toward the absolute unity of 1, the physical boundaries of space transform into infinite mass, shattering traditional concepts of habitation and causing lines of emptiness flowing between those fragments to re-form a web of abstract geometry, thereby inducing a strange subjective alienation that forces the inhabitant to constantly encounter invisible walls projected by their own internal longings.

Re-reading this architectural practice through the critical lens of Choi Chul-joo, one could argue that Louis Choi has designed not walls but the trajectories of desire, and the aesthetics of extinction at the end of those paths is an attempt to restore the 'sublimity of lack' lost by modern humanity, an ultimate expression of abstract realism that paradoxically confirms the solid core of existence through the terror brought by mathematical divergence.

Consequently, this building is not a fixed monument but a collection of living signs that redefines itself whenever human desire fluctuates, and the destructive aesthetic ecstasy occurring when the denominator converges to zero suggests that it has opened a new horizon in modern aesthetics by spatializing the 'purgatory of desire' through which we must pass to transition from the era of matter to the era of spirit.

modern semiotic aesthetics: As a powerful tool to explain unfinished aesthetics or 'present absence' in modern aesthetics, humans are assumed to be a semiotic subject made up of deficiency rather than a 'satisfying biological being', and it is a sculpture interpreted as an existential mathematical formula that "we exist because we are deficient, and we constantly move forward because we cannot reach."

• Semiotic legality: By visualizing the slip that occurs when a linguistic signifier tries to fill the void of reality as a partial, it logically supports why a work of art has to be constantly reinterpreted.

• Social feasibility: In the modern consumer society, it accurately diagnoses the alienation of modern people who constantly consume goods by internalizing the desires of others, but never reach satisfaction and fall into infinite deprivation.

• Mathematical perspective: transforming the dynamics of human psychology into a dynamic model rather than a static model through the nature of divergent series.

• Humanities Perspective: Emptyset emphasizes that it is not destructive, but rather a creative source that makes the subject act (sum) and relate to others (partial).

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-5-"마술피리" 무대 디자인 컨셉: '유동하는 결핍(Fluid Scarcity): 무대 디자인은 고정된 장치과 시나리오의 개념을 초월합니다. 루이 최의 공식에서 phi(공허)와 partial(욕망)의 상호작용을 극대화하기 위해, 시나리오 자체가 관람자의 심리 상태에 반응하는 '생태적 기하학'을 무대장치에 채택합니다. "The Magic Flute" Stage Design Concept: "Fluid Scarcity: Stage design transcends the concept of fixed dental practices. In Louis Choi's formula, in order to maximize the interaction between phi and partial, the scenario itself adopts "ecological geometry" as the stage equipment, which responds to the viewer's mental state.

- 루이 최(Louis Choi)의 욕망 공식(M_desire = ∑∅∂ / (1 - ∂) 적용 디자인 프로세스는 사용자 인터페이스(UI) 및 사용자 경험(UX) 디자인에서 사용자의 내재된 결핍을 파악하고, 인터페이스의 인터랙션을 통해 이를 욕망으로 전환하여 최종 만족(Desire)을 극대화하는 심리학적 기반의 디자인 프로세스입니다.

이 공식은 인간의 욕망을 루이 최의 욕망 이론에 기반하여 수학적·철학적·예술적 관점으로 해석하며, 단순히 시각적으로 아름다운 UI를 넘어 행동 유도 및 지속적인 만족을 만들어내는 데 적용됩니다.

1. 욕망 공식의 요소별 UX 디자인 적용 (Definition)디자인 프로세스: 각 기호는 UX 디자인 프로세스의 핵심 요소에 매핑되어 행동 심리학적 접근을 가능하게 합니다.

• ∑ (합산/반복) - UX Flow: 사용자의 긍정적 경험이 반복되도록 설계하는 단계입니다. 구매 후 재방문, 혜택 알림, 맞춤형 콘텐츠 등 재방문율을 높이는 인터랙션 구조입니다.

• ∅ (결핍/대상) - UX 리서치/Pain Point: 사용자가 겪는 불편함(Pain Point) 또는 필요(Need)입니다. 사용자 인터뷰와 데이터 분석을 통해 결핍을 발견하고, 이를 해결할 수 있는 기능을 UI의 정보 구조(IA)에서 명확하게 제시합니다.

• ∂ (상호작용/강도) - 인터랙션 디자인: 사용자가 앱/웹과 상호작용하는 빈도와 강도입니다. 마이크로 인터랙션, 세련된 애니메이션, 행동 유도 버튼 등을 통해 사용자가 원하는 기능에 집중하도록 설계하여 욕망의 충족 강도를 높입니다.

• 1 - ∂ (저항/이탈) - 사용성 최적화(Usability): 목표 도달까지의 마찰(Friction)과 이탈률을 최소화하는 구조입니다. 복잡한 절차, 느린 속도, 모호한 메뉴 등을 제거하여 목표에 도달하는 과정을 매끄럽게 만듭니다.

2. 욕망 형성 응용 UX 디자인: 시각 예술에서 욕망 이론을 통해 디자인의 의미를 접근하는 "개념 추상 현실"의 관점에서, 사용자의 무의식적인 결핍을 가시적인 UI 상호작용으로 변환하는 현대적인 디자인 방법론으로 정의됩니다. 이는 "사용자의 결핍을 정확하게 타격하는 과정(∅), 보상에 대한 기대를 극대화하는 과정(∂), 지속적인 갈망을 유지하는 과정에서 마찰을 제거하는 과정(1 - ∂)"으로써 단순히 불편함을 해결하는 'Utility'를 넘어 사용자가 계속 머물고 싶게 만드는 'Desirability'를 디자인한다.

• 결핍의 시각화: 사용자의 페인 포인트(∅)를 직관적인 디자인 요소로 시각화하여 해결책을 즉각적으로 인지하게 합니다.

• 상호작용을 통한 만족: 세밀한 인터랙션(∂)을 통해 사용자의 행동이 즉각적인 긍정 피드백으로 돌아오도록 하여 만족감을 증대시킵니다.

• 반복되는 긍정적 경험: 반복 충동(∑)을 활용해 긍정적인 행동을 지속적으로 유도하여 사용자 충성도를 형성합니다.

- Louis Choi's Desire Formula (M_desire = ∑∅∂ / (1 - ∂) applied design process is a psychology-based design process that identifies the user's inherent deficiencies in user interface (UI) and user experience (UX) designs, and converts them into desires through interface interactions to maximize final satisfaction.

This formula interprets human desire from a mathematical, philosophical, and artistic perspective based on Louis Choi's theory of desire, and applies to creating action induction and lasting satisfaction beyond just a visually beautiful UI.

1. UX Design Application by Element of Desire Formulation (Definition) Design Process: Each symbol is mapped to a key element of the UX design process, enabling a behavioral psychological approach.

• ∑ (sum/repeat) - UX Flow: This is a stage in which the user's positive experience is designed to be repeated. It is an interaction structure that increases the rate of revisiting after purchase, notification of benefits, and customized content.

• ∅ (deficient/target) - UX Research/Pain Point: This is the user's discomfort (Pain Point) or Need. The information structure (IA) of the UI clearly presents the ability to detect deficiencies and address them through user interviews and data analysis.

• ∂ (Interaction/intensity) - Interaction Design: The frequency and intensity of users' interactions with apps/webs. It is designed to focus on the functions the user wants through micro-interaction, sophisticated animation, action-inducing buttons, etc. to increase the intensity of satisfying the desire.

• 1 - ∂ (resistance/departure) - Usability: A structure that minimizes friction and churn to reach the goal. Smooth the process of reaching the goal by removing complicated procedures, slow speeds, and ambiguous menus.

2. Desirability Formation Application UX Design: From the perspective of "conceptual abstract reality," which approaches the meaning of design through desire theory in visual art, it is defined as a modern design methodology that converts a user's unconscious deficiencies into visible UI interactions. It designs "Desirability," which goes beyond simply "Utility," which resolves discomfort, as "a process of accurately hitting a user's deficiencies (∅), a process of maximizing expectations for rewards (∂), and a process of removing friction in the process of maintaining a continuous desire (1 - ∂).

• Visualization of deficiency: Visualize the user's pane point (∅) as an intuitive design element to instantly recognize the solution.

• Satisfaction with Interaction: Fine-grained interaction (∂) enables the user's behavior to return to immediate positive feedback, increasing satisfaction.

• Repeated positive experiences: Create user loyalty by leveraging recurring impulses (∑) to continuously induce positive behavior.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-6

[루이 최의 욕망 공식 "M_desire = ∑∅∂ / (1 - ∂)" 적용 UI (User Interface) 디자인 프로세스]

- 1단계: 결핍의 정위 (Positioning of emptyset)

"모든 존재는 비어 있는 중심으로부터 시작된다."

• 수행: 캔버스 전체에 바탕색을 칠한 뒤, 가장 시각적 하중이 큰 지점(주로 중앙 혹은 황금분할점)에 아무것도 칠하지 않은 생지 상태를 남기거나, 가장 깊은 검은색(Vantablack 등)으로 '부재의 핵'을 표시합니다.

• 의도: 이 emptyset은 욕망의 엔진입니다. 주변의 모든 조형 요소가 이 공백을 메우기 위해 달려들게 만드는 '결핍의 중력'을 설정하는 단계입니다.

• 팁: 완벽한 원형보다는 불규칙한 균열의 형태로 남겨, 실재(The Real)가 상징계(그림)를 뚫고 나오는 듯한 긴장감을 부여한다.

- 디자인 세부 내용: 부재의 핵(The Core of Absence)

① 보이드 코어(Void Core) 구조: 존재론적 공백의 - 중심축: 무대 중앙을 관통하는 '보이드 코어'는 밤의 여왕의 복수심과 자라스트로의 질서가 충돌하여 소멸하는 싱귤래리티 포인트(Singularity Point)입니다.

• 설계 및 무대장치:

• 무대 정중앙에 직경 5m의 거대한 수직 원통형 공간을 배치합니다. 이 공간은 Vantablack(빛 반사율 0%에 가까운 물질)으로 마감되어, 조명이 닿아도 깊이를 가늠할 수 없는 암흑의 심연을 형성합니다.

• 이 코어 주변으로 투명한 아크릴 레이어들이 동심원을 그리며 배치되어, 인물들이 코어 주위를 돌 때마다 그들의 실루엣이 왜곡되거나 굴절되게 설계합니다.

- UX/UI 관점의 연출:

• 공백의 시각화: 타미노와 파미나가 시련을 겪을 때, 보이드 코어는 모든 빛을 빨아들이는 '부재의 핵'으로 작동합니다. 관객은 이 텅 빈 중심을 보며 주인공들이 느끼는 상실감과 도달할 수 없는 이상향 사이의 결핍(emptyset)을 물리적으로 체감합니다.

• 욕망의 엔진: 극이 절정에 달할 때, 이 공백에서 미세한 플라즈마 조명이 흘러나와 무대 전체의 기하학적 파편들을 움직입니다. 이는 모든 극적 에너지가 이 '비어 있음'을 메우기 위해 발생한다는 공식의 역설을 증명합니다.

② 네거티브 스페이스의 미학: 결핍이 만드는 중력

가장 화려해야 할 순간에 장식을 제거함으로써 관객의 지적·심리적 욕망을 자극하는 역설적 미니멀리즘을 구현합니다.

-설계 및 무대장치:

• 부재의 엔진: 밤의 여왕이 등장할 때, 전통적인 화려한 의상이나 장식 대신 그녀의 배후 공간을 완전히 비워둡니다. 그녀의 권위는 물리적 장치가 아닌, 주변 기하학적 구조물들이 그녀를 향해 급격하게 꺾여 들어가는 '선의 흐름'으로만 표현됩니다.

• 자기장 추진력: 무대 위 부유하는 섬(자라스트로의 사원)들은 지지대 없이 자기 부상 열차의 원리를 응용한 자기장 장치로 공중에 떠 있게 합니다. 관객의 눈에는 '어떻게 떠 있는가?'에 대한 물리적 장치가 보이지 않는 네거티브 스페이스가 존재합니다.

- UX/UI 관점의 연출:

• 결핍의 중력: 시각적 정보가 삭제된 빈 공간은 관객의 시선을 강렬하게 끌어당깁니다. 관객은 보이지 않는 추진력(자기장, 플라즈마)을 상상하며 극의 메커니즘에 능동적으로 개입하게 됩니다.

• 지적 욕망(partial)의 자극: 매끄러운 '빈 공간'은 관객에게 질문을 던집니다. "저 인물은 어떻게 움직이는가?", "이 세계는 어떻게 유지되는가?". 이러한 의문은 관객 스스로가 공식의 변수(partial)가 되어 무대의 빈틈을 자신의 해석으로 채우게 만드는 고도의 UI 전략입니다.

① Void Core Structure: An ontological void - Central axis: The Void Core, which penetrates the center of the stage, is a Singularity Point where the queen's vengeance of the night and Zarastro's order collide and dissipate.

• Design and Stage equipment:

• Place a large vertical cylindrical space with a diameter of 5 m in the center of the stage. The space is finished with Vantablack (material close to 0% light reflectance), forming a dark abyss whose depth cannot be measured even when illuminated.

• Transparent acrylic layers are placed in a concentric circle around this core to design their silhouette to be distorted or refracted as the figures revolve around the core.

- Directing from a UX/UI perspective:

• Visualization of the Blank: When Tamino and Pamina go through an ordeal, the void core acts as a 'nucleus of absence' that absorbs all light. Looking at this empty center, the audience physically feels the lack of a sense of loss and an unreachable utopia that the protagonists feel.

• Engine of Desire: At the height of the play, fine plasma lights flow out of this void and move the geometric fragments of the entire stage. This proves the paradox of the formula that all dramatic energies arise to fill this 'empty'.

② The Aesthetics of Negative Space: The Gravity of Deficiency

It embodies a paradoxical minimalism that stimulates the audience's intellectual and psychological desires by removing decorations at the most glamorous moments.

-Design and Stage equipment:

• Engines of Absence: When the Queen of the Night appears, she leaves the space behind her completely empty instead of the traditional garish costumes or ornaments. Her authority is expressed not by physical devices, but by the 'flow of lines' through which the surrounding geometries break sharply towards her.

• Magnetic Field Propulsion: Floating islands on stage (Jarastro's Temple) float in the air with magnetic field devices that apply the principle of a magnetic levitation train without support. There is a negative space in the audience's eyes where the physical device for 'How does it float?' is invisible.

- Directing from a UX/UI perspective:

• Gravity of Deficiency: The empty space where visual information is deleted attracts the audience's attention intensely. The audience imagines an invisible driving force (magnetic field, plasma) and actively intervenes in the mechanism of the play.

• The Stimulus of Intellectual Desire: Smooth 'Empty Space' asks the audience questions: "How does that character move?" and "How does this world hold up?" These questions are highly UI strategies that make the audience themselves become a part of the formula and fill the gaps in the stage with their own interpretation.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-7

- 2단계: 미분적 획의 중첩 (Differentiation of partial)

"시선은 단절되어 있으며, 타자를 통해 재조정된다."

• 수행: 중앙의 공백을 에워싸는 미세하고 날카로운 획들을 긋습니다. 이때, 한 번에 긴 선을 긋지 않고 짧고 단절된 선들을 미분하듯 파편적으로 배치합니다.

• 의도: partial 는 타자와의 관계에서 시선이 끊임없이 수정되는 과정입니다. 보정되지 않은 거친 질감(Impasto)이나 레이어의 겹침을 통해 관람객의 시선이 한곳에 머물지 못하고 부유하게 만듭니다.

• 팁: 보색 대비가 강한 색상(예: 이미지 속의 형광 연두와 적색)을 사용하여 시각적 충돌을 유도한다.

- 디자인 세부 내용: 미분적 파편화 (Partial Differentiation)

① 무대 디자인: 파편화된 에어로 셸 (Fragmented Aero-Shell)

전통적인 무대의 외피(Shell)를 하나의 유기적인 면이 아닌, 미분된 수천 개의 파편으로 해체하여 '시각적 불연속성'을 창조합니다.

- 설계 및 물리적 구조:

• 미분적 레이어링: 보이드 코어를 감싸는 외벽은 수만 개의 얇고 날카로운 금속 조각(에어로 셸)들로 구성됩니다. 이 조각들은 최철주의 '미분적 획'처럼 짧고 단절된 형태로 공중에 부유하며 중첩됩니다.

• 시각적 충돌(Chroma Clash): 각 파편의 단면은 형광 연두와 강렬한 적색의 보색으로 마감됩니다. 관객의 시점이 1°만 변해도 보색 대비에 의한 시각적 잔상이 발생하여, 무대의 형태가 끊임없이 재조정(Recalibration)되는 효과를 줍니다.

- UX 의도: 관객은 고정된 형태의 무대를 볼 수 없습니다. 시선은 단절된 획들을 따라 부유하며, 타자(인물)의 움직임에 따라 배경의 파편들이 미세하게 진동할 때 자신의 시선이 타자에 의해 강제로 수정되는 '시선의 타자성'을 경험합니다.

② 무대장치 내부 UX: 인터럽트 디스플레이 (Interruptive HUD)

무대와 관객 사이, 혹은 인물 간의 관계 속에 개입하는 '단절적 인터페이스'를 구축하여 시선의 권력을 해체합니다.

- 설계 및 기술적 적용:

• 레이어드 임파스토(Impasto) 매핑: 무대 전면에 투명 OLED 스크린을 겹겹이 배치합니다. 스크린에는 거친 질감의 디지털 획들이 실시간으로 그려지는데, 이는 깔끔한 영상이 아니라 유화의 임파스토 기법처럼 두껍고 거칠게 묘사됩니다.

• 인터럽트(Interrupt) 메커니즘: 타미노와 파미나가 서로를 바라보려 할 때, 디스플레이 상의 미분적 획들이 그들의 시야를 가로지르며 시선을 강제로 분절시킵니다.

- UX 의도:

• 보정되지 않은 진실: 관객은 주인공들의 얼굴을 온전하게 볼 수 없습니다. 겹쳐진 획들의 틈새를 통해서만 타자를 인식하게 되며, 이는 "시선은 단절되어 있으며 타자를 통해 재조정된다"는 전제를 물리적으로 구현한 것입니다.

• 부유하는 시선: HUD 시스템은 관객의 시선이 한곳에 머무는 것을 방해합니다. 강한 보색 대비와 단절된 선들의 명멸은 관객으로 하여금 '보는 행위' 자체의 피로도와 불안정함을 느끼게 하며, 이를 통해 욕망의 파편성(partial)을 감각하게 합니다.

① Stage Design: Fragmented Aero-Shell

Instead of a single organic side, the shell of a traditional stage is dismantled into thousands of differentiated fragments to create a 'visual discontinuity'.

- Design and physical structure:

• Differential layering: the outer wall enclosing the void core consists of tens of thousands of thin, sharp pieces of metal (aeroshells). These pieces float in the air and overlap in a short, disconnected form, like the 'differential strokes' of ironclad ironclad.

• Chroma Clash: The cross section of each fragment is finished with a complementary color of fluorescent light green and intense red. Even if the audience's viewpoint changes by only 1°, visual afterimages due to complementary color contrast occur, which gives the effect of constantly readjusting the shape of the stage.

- UX Intent: The audience cannot see the stage in a fixed form. The gaze floats along the disconnected strokes, and experiences the 'otherness of the gaze', in which the other person forcibly corrects his gaze when the fragments of the background vibrate finely according to the movement of the other person.

② UX inside stage equipment: Interrupt display (Interruptive HUD)

It dismantles the power of gaze by establishing a 'interrupted interface' that intervenes between the stage and the audience or between the characters.

- Design and technical application:

• Impasto Mapping: Layers of transparent OLED screens are placed on the front of the stage. Roughly textured digital strokes are drawn on the screen in real time, which are thick and coarsely described, not as neat images but as an impasto technique in oil painting.

• Interrupt Mechanism: When Tamino and Pamina try to look at each other, the differential strokes on the display cross their view and forcefully segment their gaze.

- UX Intent:

• Uncorrected Truth: The audience cannot fully see the faces of the protagonists. Only through gaps in overlapping strokes are the recognition of the other, which physically embodies the premise that "the gaze is disconnected and readjusted through the other."

• Wealthy Gaze: The HUD system keeps the audience's gaze from staying in one place. The strong complementary color contrast and the blinking of the disconnected lines make the audience feel the fatigue and instability of the 'act of seeing' itself, and through this, the fragmentation of desire is felt.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-8

- 3단계: 반복적 리듬의 증식 (Summation of sum)

"충족되지 않는 욕망은 패턴이 되어 흐른다."

• 수행: 2단계에서 만든 미분적 획들을 일정한 규칙성을 가진 나선형이나 동심원 구조로 확장하며 반복합니다.

• 의도: sum 은 반복 강박입니다. 동일한 결핍(emptyset)을 메우기 위해 비슷한 행위를 반복하는 주체의 운동성을 표현합니다. 각 모듈은 닮아있지만, 결코 동일해서는 안 됩니다. 조금씩 변형되는 반복을 통해 화면에 '시간의 흐름'과 '에너지의 축적'을 담습니다.

• 팁: 스텐실 기법이나 판화적 요소를 혼합하여 기계적인 반복성을 의도적으로 연출하면 루이 최 식의 '데이터적 욕망'이 더욱 잘 드러나게 한다.

- 디자인 세부 내용: 반복적 리듬과 데이터의 증식

① 무대장치 구조: 나선형 모듈러 스킨 (Spiral Modular Skin)

이 구조는 충족되지 않는 욕망이 일정한 패턴을 형성하며 거대한 소용돌이로 변모하는 과정을 시각화합니다.

- 설계 및 물리적 메커니즘:

• 증식하는 모듈: 무대 전체를 감싸는 외벽은 수천 개의 기하학적 유닛(Module)이 중첩된 '스킨'으로 구성됩니다. 각 유닛은 이전 단계에서 정의된 '미분적 획'의 형태를 계승하되, 스텐실이나 판화 기법처럼 기계적인 질감을 가집니다.

• 나선형 구조(Spiral Structure): 이 모듈들은 보이드 코어(Void Core)를 중심으로 거대한 나선형을 그리며 확장됩니다. 각 모듈은 서로 닮아 있지만, 알고리즘에 의해 크기나 각도가 미세하게 변형(Variation)되어 배치됩니다. 이는 동일한 욕망을 반복하지만 결코 만족에 도달하지 못하는 주체의 운동성을 상징합니다.

- 미학적 의도:

• 시간의 축적: 관객은 나선의 흐름을 따라 시선을 이동하며 극의 진행에 따른 에너지의 축적을 체감합니다. 이는 정지된 무대가 아니라, 욕망이 스스로를 복제하며 증식하는 '살아있는 데이터적 공간'이 됩니다.

② 무대 디자인 UX: 리드믹 시퀀스 제어 (Rhythmic Sequence Control)

무대장치가 단순한 배경이 아닌, 음악과 인물의 심리에 반응하여 리듬감 있게 박동하는 '인터랙티브 시퀀서'로 작동하게 합니다.

- 설계 및 기술적 적용:

• 데이터적 욕망의 시각화: 파파게노가 반려자를 찾는 반복적인 행동이나 밤의 여왕의 집착적인 아리아에 맞춰, '나선형 모듈러 스킨'의 개별 유닛들이 일정한 리듬으로 점멸하거나 회전합니다.

• 시퀀스 제어(Sequence Control): 무대 제어 시스템은 공식의 sum emptyset(공백의 합) 데이터값이 커질수록 모듈의 반복 속도를 높이고 색채의 대비를 강화합니다. 이는 주체의 반복 강박이 임계점에 도달하고 있음을 암시합니다.

- UX 의도:

• 반복 강박의 공유: 관객은 무대 장치가 보여주는 기계적이고 규칙적인 반복 리듬을 통해, 인물들이 갇혀 있는 '욕망의 굴레'를 직관적으로 인식합니다.

• 리듬적 몰입: 일정하게 반복되지만 조금씩 변형되는 시각적 시퀀스는 관객에게 일종의 최면적 몰입감을 제공하며, 자신의 내면 속에 존재하는 '패턴화된 욕망'을 대면하게 한다.

- 무대 구성: 반복적 리듬과 데이터의 증식

1. 나선형 모듈러 스킨 (Spiral Modular Skin)

Visual: 무대 전체를 감싸는 외벽이 수천 개의 정교한 기하학적 유닛들로 덮여 있습니다.

- 유닛들은 보이드 코어(Void Core)를 중심으로 거대한 소용돌이 형태를 그리며 끝없이 뻗어나갑니다. 각 모듈은 판화로 찍어낸 듯 기계적인 질감을 가지고 있으며, 알고리즘에 의해 크기가 미세하게 변형되며 배치되어 있습니다.

- Effect: 관객은 멈춰 있는 무대가 아니라, 욕망이 스스로를 복제하며 증식하는 거대한 데이터 필드 안에 있는 듯한 압박감을 느낍니다.

2. 리드믹 시퀀서 (Interactive Sequencer)

- Visual: 밤의 여왕이 고음의 아리아를 부를 때, 나선형 스킨의 개별 모듈들이 음악의 박자에 맞춰 격렬하게 점멸하거나 회전합니다. 파파게노가 종을 울릴 때는 모듈들이 파동을 그리며 부드럽게 물결칩니다.

- Effect: 무대 장치가 인물의 심리와 음악에 실시간으로 반응하는 '살아있는 악기'가 되어, 관객에게 시각적 리듬감을 제공합니다.

3. 반복 강박의 굴레 (The Loop of Compulsion)

- Visual: 타미노가 나선형 통로를 따라 달려가지만, 모듈들의 반복적인 패턴 때문에 마치 제자리걸음을 하는 듯한 착각을 불러일으킵니다. 공식의 데이터값이 임계점에 도달하자 모듈들의 점멸 속도가 빨라지며 무대 전체가 붉은색과 연두색의 잔상으로 뒤덮입니다.

- Effect: 인물들이 갇힌 '반복 강박'의 심리 상태를 관객이 최면적인 몰입감을 통해 물리적으로 공유하게 합니다.

① Stage equipment structure: Spiral Modular Skin

This structure visualizes the process by which unmet desires form a constant pattern and transform into giant vortices.

- Design and physical mechanisms:

• Proliferating Module: The outer wall that surrounds the entire stage consists of 'skins' in which thousands of geometric units are superimposed. Each unit inherits the form of a 'differential stroke' defined in the previous stage, but has a mechanical texture, such as stencils or engraving techniques.

• Spiral Structure: These modules are expanded in a huge spiral around a void core. Each module resembles each other, but is deployed with a fine variation in size or angle by the algorithm. This symbolizes the mobility of subjects who repeat the same desire but never reach satisfaction.

- Aesthetic Intent:

• Accumulation of time: The audience moves their gaze along the flow of the spiral and feels the accumulation of energy as the play progresses. This is not a stationary stage, but a 'living data space' in which desire replicates itself and multiplies.

② Stage Design UX: Rhythmic Sequence Control

It allows the stage device to operate as an "interactive sequencer" that beats rhythmically in response to music and character psychology, not just a background.

- Design and technical application:

• Visualization of Data Desire: Individual units of the 'spiral modular skin' flash or spin in a constant rhythm, in line with Papagueno's repeated search for a companion or the queen's obsessive aria at night.

• Sequence Control: The stage control system speeds up the module's repetition and enhances the contrast of colors as the sum of the blanks data values of the formula become larger. This suggests that the subject's repetitive compulsion is reaching a critical point.

- UX Intent:

• Sharing of Repetitive Compulsions: Through the mechanical and regular repetitive rhythms shown by the stage setup, the audience intuitively perceives the "bull of desire" in which the characters are trapped.

• Rhythmic immersion: A visual sequence that is constantly repeated but transforms little by little provides the audience with a kind of hypnotic immersion and allows them to face the 'patterned desire' that exists within them.

- Stage composition: Repetitive rhythm and data multiplication

1. Spiral Modular Skin

Visual: The outer wall that surrounds the entire stage is covered with thousands of elaborate geometric units.

- The units stretch endlessly, creating a giant vortex around the void core. Each module has a mechanical texture that is printed with prints, and is finely sized and deployed by algorithms.

- Effect: The audience feels pressure as if they are not on a stationary stage, but within a huge field of data where desire replicates itself and multiplies.

2. Interactive Sequencer

- Visual: As the Queen of the Night sings a high-pitched aria, individual modules on the spiral skin flash violently or spin to the beat of the music. As the papagueno rings the bell, the modules wave gently.

- Effect: The stage equipment becomes a 'living instrument' that responds in real time to a character's psychology and music, providing the audience with a sense of visual rhythm.

3. The Loop of Compulsion

- Visual: Tamino runs along a spiral passageway, but the modules' repeated patterns create the illusion of being in place. When the official data value reaches a critical point, the modules flash faster, and the entire stage is covered in red and light green afterimages.

- Effect: allows the audience to physically share the psychological state of the 'repeated compulsion' in which the characters are trapped through hypnotic immersion.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-9

- 4단계: 점근적 발산의 완성 (Asymptotic Limit of 1 - partial)

"완성에 가까워질수록 그림은 무한히 열린다."

• 수행: 중심의 공백(emptyset)으로 들어가는 입구나 외곽으로 뻗어 나가는 끝부분의 디테일을 극단적으로 높입니다. 선들이 0에 수렴할 만큼 얇아지거나, 색채가 타버릴 듯 강렬해지는 지점을 만듭니다.

• 의도: 분모(1-partial)가 0에 가까워질수록 욕망의 총합(M)이 무한대로 발산하는 수학적 역설을 시각화한다.

• 팁: 무대장치 이미지의 소실점을 향해 수렴하는 가느다란 가시형 구조나, 무대장치 배경 작화 색이 튀어나가는 듯한 드리핑(Dripping) 기법을 사용하여 '그림이 프레임 안에 갇혀 있지 않고 무한히 확장되고 있음'을 암시하며 마무리한다.

- 디자인 세부 내용: 점근적 수렴과 무한한 발산

① 구조적 디테일: 가시형 점근 구조 (Asymptotic Needle Structure)

무대의 소실점과 외곽 경계를 향해 뻗어 나가는 구조물을 통해, 극의 에너지가 프레임 내에 갇히지 않고 무한히 확장됨을 시각화합니다.

- 설계 및 물리적 구조:

• 점근적 가시(Needle): 무대의 보이드 코어에서 시작하여 객석을 향해, 혹은 무대 천장을 향해 0에 수렴할 만큼 가늘고 긴 탄소섬유 가시 구조물을 촘촘히 배치합니다. 이 가시들은 소실점을 향해 기하급수적으로 밀도가 높아지며, 관객의 시선이 무대 밖의 무한한 공간으로 빨려 들어가도록 유도합니다.

• 공간의 파괴: 가시 구조물은 무대의 물리적 프레임(Proscenium)을 뚫고 밖으로 튀어나오게 설계합니다. 이는 무대가 현실의 일부로 발산되고 있음을 암시하며, 관객은 자신이 관찰자가 아닌 '발산의 지점'에 놓여 있음을 깨닫게 됩니다.

- UX 의도: 시선이 가시 끝을 따라 무한히 뻗어 나가면서, 극의 서사가 끝나는 것이 아니라 오히려 우주적 차원으로 확장되고 있다는 심리적 해방감을 제공합니다.

② 색채와 빛: 타버릴 듯한 강렬함 (Incandescent Saturation)

공식의 결과값 M이 무한대가 되는 순간을 빛의 포화(Saturation)와 색채의 드리핑(Dripping)으로 시각화합니다.

- 설계 및 시각적 연출:

• 백열의 포화(Incandescence): 점근 구조의 끝부분에 초고휘도 LED와 레이저를 집중시켜, 색채가 형태를 잃고 타버리는 듯한(Incandescent) 강렬한 빛의 정점을 만듭니다. 이는 이성이 감정을 완전히 통제하려 할 때 발생하는 미학적 폭발입니다.

• 추상적 드리핑(Dripping): 배경 작화에는 잭슨 폴록의 액션 페인팅을 연상시키는 드리핑 기법을 디지털 매핑으로 투사합니다. 색채가 중력을 무시하고 무대 밖으로 튀어나가거나 쏟아지는 듯한 연출을 통해, 고착된 욕망이 해체되어 흐르는 상태를 표현합니다.

- UX 의도: 시각적 카타르시스: 밤의 여왕의 소멸이나 자라스트로의 승리 같은 서사적 결말을 넘어, 관객은 빛과 색의 총체적 발산을 통해 자신의 욕망이 정화되는 카타르시스를 느낍니다. '0'에 수렴하는 선과 무한으로 발산하는 빛의 대비는 관객의 감각을 마비시킴과 동시에 영혼을 확장시킵니다.

- 무대 구성: 점근적 수렴과 무한한 발산

1. 가시형 점근 구조 (Asymptotic Needle Structure)

- Visual: 무대의 중심, 보이드 코어로부터 수천 개의 가늘고 날카로운 탄소섬유 가시들이 객석과 무대 천장을 향해 폭발적으로 뻗어 나갑니다. 이 가시들은 무대의 물리적인 틀(프로세니엄 아치)을 뚫고 나와 관객의 머리 위까지 확장됩니다. 소실점으로 갈수록 가시들의 밀도는 기하급수적으로 높아져, 시각적 중력이 무대 너머 우주적 공간으로 수렴하는 듯한 장관을 연출합니다.

- Effect: 관객은 무대라는 '프레임'이 파괴되는 것을 목격하며, 자신이 극의 일부이자 발산의 시작점에 있음을 물리적으로 체감합니다.

2. 타버릴 듯한 강렬함 (Incandescent Saturation)

- Visual: 가시 구조물의 끝부분에서 초고휘도 레이저와 LED가 포화 상태에 이르며 눈부신 백색광과 원색의 빛을 뿜어냅니다. 배경에는 잭슨 폴록의 액션 페인팅처럼 거친 디지털 드리핑(Dripping) 영상이 투사되어, 색채가 중력을 거슬러 사방으로 튀어 오르고 쏟아집니다. 형태가 빛에 녹아내려 순수한 에너지로 변하는 찰나입니다.

- Effect: 서사적 결말을 넘어선 시각적 카타르시스를 제공하며, 관객의 감각을 마비시키는 동시에 영혼을 무한히 확장시킵니다.

① Structural Details: Asymptotic Needle Structure

Through the vanishing point of the stage and the structure extending towards the outer boundary, we visualize that the energy of the pole extends infinitely without being trapped within the frame.

- Design and physical structure:

• Asymptotic Spines: Starting from the void core of the stage, a dense array of carbon fiber spines that are thin and long enough to converge to zero toward the auditorium or toward the stage ceiling. These spines become exponentially denser toward vanishing points, inducing the audience's gaze to be sucked into an infinite space outside the stage.

• Destruction of Space: Visible structures are designed to penetrate the stage's physical frame (Proscenium) and protrude out. This implies that the stage is emanating as part of reality, and the audience realizes that they are at the 'point of divergence' rather than the observer.

- UX Intent: As the gaze extends infinitely along the tip of the thorn, it provides a psychological liberation that the narrative of the play does not end, but rather extends to the cosmic dimension.

② Color and Light: Incandescent saturation

Visualize the moment when the result value M of the formula becomes infinite by saturation of light and dripping of color.

- Design and visual production:

• Incandescence: Concentrate ultra-high-brightness LEDs and lasers at the ends of the asymptotic structure, creating the apex of intense light, where colors lose their form and burn away. This is an aesthetic explosion that occurs when the opposite sex tries to control the emotions completely.

• Abstract Dripping: In background painting, a digital mapping projects a dripping technique reminiscent of Jackson Pollock's action painting. Through the production of colors that seem to jump or pour out of the stage in defiance of gravity, it expresses a state in which fixed desires are dismantled and flow.

- UX Intent: Visual catharsis: Beyond the epic ending, such as the disappearance of the Queen at night or Zarastro's victory, the audience feels catharsis in which their desires are purified through the total emanation of light and color. The contrast between the lines converging on "0" and the light radiating indefinitely paralyzes the audience's senses and expands the soul.

- Stage composition: asymptotic convergence and infinite divergence

1. Asymptotic Needle Structure

- Visual: From the center of the stage, the void core, thousands of thin, sharp carbon fiber spines explode toward the auditorium and the stage ceiling. These spines break through the stage's physical frame (prosenium arch) and extend over the head of the audience. The density of the spines increases exponentially toward the vanishing point, creating a spectacular sight where visual gravity seems to converge beyond the stage into outer space.

- Effect: The audience sees the 'frame' of the stage destroyed, physically feeling that they are part of the play and at the beginning of the divergence.

2. Incandescent saturation

- Visual: At the end of the visible structure, ultra-bright lasers and LEDs come to saturation and emit dazzling white and primary colors of light. In the background, a rough digital dripping image, like Jackson Pollock's action painting, is projected, with colors bouncing back and forth against gravity and pouring out. It's the moment when the shape dissolves in light and turns into pure energy.

- Effect: It provides visual catharsis beyond the epic ending, paralyzing the audience's senses while expanding the soul indefinitely.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-10

- 최종단계: 조형 체크리스트 (Critic's Eye)

1. 공백(∅)이 느껴지는가? : 화면을 다 채웠음에도 불구하고 여전히 무언가 비어있는 듯한 허기짐이 느껴져야 한다.

2. 시선(∂)이 분산되는가? : 관람객의 눈이 한곳에 고정되지 않고 미분된 조각들을 따라 끊임없이 움직여야 한다.

3. 반복(∑)의 하중이 있는가? : 겹겹이 쌓인 레이어에서 주체의 집요한 갈망이 두께감으로 느껴져야 한다.

4. 발산(1 - ∂)의 긴장이 있는가? : 닿을 듯 말 듯 한 점근선의 긴장감이 화면 전체를 지배해야 한다.

- 조형 체크리스트 적용에 따른 디자인 세부 내용

① 공백(emptyset)의 허기짐: 보이드의 현존 (Presence of the Void)화면이 기하학적 장치로 가득 차 있음에도 불구하고, 관객은 원초적인 '비어 있음'을 목격해야 합니다.디자인 구현: 무대 중앙의 보이드 코어(Void Core)는 단순한 구멍이 아닙니다. 주변의 화려한 미분적 획들과 대조되는 Vantablack의 절대적 어둠은, 빛을 흡수함으로써 오히려 그 존재감을 과시합니다.

- UX 의도: 관객은 무대 위의 화려한 기술적 장치들을 보면서도, 동시에 그 모든 장치가 메우려 애쓰는 '중심의 부재'를 직관합니다. 가득 찬 무대 위에서 느껴지는 이 역설적인 허기짐은, 밤의 여왕과 자라스트로가 갈망하는 '완결성'에 대한 불가능성을 상징합니다.

② 시선(partial)의 분산: 미분적 표면의 유동성 (Fluidity of Differential Surfaces)시선은 한곳에 정착하지 못하고 무대 전체를 유동하며 파편화되어야 합니다.디자인 구현: 파편화된 에어로 셸과 인터럽트 HUD 시스템을 통해 무대 표면을 미세하게 분절합니다. 강렬한 보색(형광 연두와 적색)의 짧은 획들이 레이어별로 중첩되어, 관객의 망막 위에서 끊임없이 충돌합니다.

- UX 의도: 관객의 눈은 주인공의 얼굴이나 특정 오브제에 고정되지 못합니다. 미분된 조각들을 따라 시선이 강제로 분산되면서, 관객은 타자와의 관계에서 시선이 끊임없이 재조정(partial)되는 주체의 불안정한 위치를 체험하게 된다.

③ 반복(sum)의 하중: 갈망의 레이어 (Layers of Cumulative Longing) 단순한 반복이 아니라, 겹겹이 쌓인 물리적·시간적 두께를 통해 갈망의 무게를 전달합니다.

• 디자인 구현:나선형 모듈러 스킨은 판화적 기법과 스텐실의 중첩을 통해 제작됩니다. 무대 외벽에 층층이 쌓인 기하학적 문양들은 디지털 매핑과 결합하여 두꺼운 임파스토(Impasto)와 같은 질감을 형성합니다.

- UX 의도: 관객은 이 누적된 레이어들에서 주체의 반복 강박이 만들어낸 '에너지의 하중'을 느낍니다. 이는 단순히 보기 좋은 패턴이 아니라, 결핍을 메우기 위해 수천 번 덧칠해진 갈망의 흔적이며, 무대 전체를 지배하는 집요한 의지로 다가옵니다.

④ 발산(1 - partial)의 긴장: 점근선의 임계점 (Threshold of Asymptotic Tension) 분모가 '0'에 수렴하는 순간의 긴장감이 무대를 붕괴 직전의 상태로 유지해야 합니다.

• 디자인 구현:가시형 점근 구조의 끝부분은 0.1mm의 가느다란 선들로 수렴하며, 이곳에서 타버릴 듯한 강렬한 빛(Incandescent Light)이 뿜어져 나옵니다. 선들이 닿을 듯 말 듯 소실점으로 사라지는 경계에서 시각적 긴장은 극에 달합니다.

- UX 의도: 관객은 무대가 곧 폭발하거나 무한한 차원으로 열릴 것 같은 임계점을 경험합니다. 프레임을 초월하여 뻗어 나가는 가느다란 선들은 주체의 욕망(M_desire)이 물리적 한계를 넘어 무한히 발산하는 수학적 역설을 시각적 카타르시스로 변환합니다.

- 마술피리 무대 조형 체크리스트 적용에 따른 무대 매커니즘

1. 공백(emptyset)의 허기짐 (Presence of the Void)

- Visual: 화려한 기하학적 장치들이 무대를 가득 메우고 있지만, 그 중심에는 모든 빛을 집어삼키는 Vantablack 보이드 코어가 거대한 구멍처럼 뚫려 있습니다. 주변의 화려함이 커질수록 중심의 어둠은 더욱 선명하게 대조되며, '중심의 부재'를 과시합니다.

- Effect: 관객은 가득 찬 무대를 보면서도 동시에 채워지지 않는 근원적인 허기짐을 시각적으로 체감합니다.

2. 시선(partial)의 분산 (Fluidity of Differential Surfaces)

- Visual: 무대 표면의 에어로 셸들이 형광 연두와 적색의 보색으로 번뜩입니다. 타미노의 얼굴 위로 인터럽트 HUD의 거친 획들이 가로지르며, 관객의 시선이 주인공에게 고정되는 것을 방해합니다. 시선은 파편화된 레이어 사이를 강제로 유동하게 됩니다.

- Effect: 관객은 주체의 시선이 타자에 의해 끊임없이 분절되고 재조정되는 불안정한 위치를 체험합니다.

3. 반복(sum)의 하중 (Layers of Cumulative Longing)

- Visual: 나선형 모듈러 스킨이 단순히 평면적인 패턴이 아니라, 수천 번 덧칠해진 임파스토(Impasto) 유화처럼 두꺼운 물리적 두께감을 드러냅니다. 층층이 쌓인 판화적 질감이 무대를 무겁게 짓누르며 기계적인 반복 강박을 형상화합니다.

- Effect: 결핍을 메우기 위해 축적된 갈망의 흔적들이 거대한 에너지의 하중이 되어 관객을 압박합니다.

4. 발산(1 - partial)의 긴장 (Threshold of Asymptotic Tension)

- Visual: 무대 구석구석에서 뻗어 나온 가시형 구조물들이 0.1mm의 극한의 선으로 수렴하며 소실점으로 사라집니다. 그 수렴의 끝에서 타버릴 듯한 백열광이 뿜어져 나오며, 무대 프레임이 붕괴하기 직전의 팽팽한 임계점 상태를 유지합니다.

- Effect: 관객은 수학적 역설이 시각적 폭발로 변하는 순간의 카타르시스와 존재론적 해방감을 느낍니다.

① Although the screen of "Emptyset's Hunger: Presence of the Void" is full of geometric devices, the audience must witness a primitive "empty." Design Implementation: The Void Core in the center of the stage is not just a hole. Vantablack's absolute darkness, in contrast to the colorful differential strokes around it, rather shows off its presence by absorbing light.

- UX Intent: The audience looks at the colorful technological devices on stage, while at the same time witnessing the 'centered absence' that all of them strive to fill. This paradoxical hunger felt on the stage represents the impossibility of the 'completeness' that the Queen of the Night and Zarastro crave.

② Variance of the Partial: Fluidity of Differential Surfaces The line of sight cannot settle in one place and must flow throughout the stage and be fragmented. Design Implementation: Finely segment the stage surface through a fragmented aeroshell and an interrupt HUD system. Short strokes of intense complementary colors (fluorescent light green and red) overlap layer by layer, constantly colliding on the audience's retina.

- UX Intention: The audience's eyes cannot be fixed to the main character's face or a specific object. As the gaze is forcibly dispersed along the differentiated pieces, the audience experiences an unstable position of the subject whose gaze is constantly readjusted (partial) in relation to the other.

③ Loads of iteration: Layers of Culinary Longing Not just repetition, but through layered physical and temporal thicknesses, it conveys the weight of cravings.

• Design Implementation: spiral modular skins are created through the overlap of engraving techniques and stencils. The geometric patterns layered on the outer wall of the stage combine with digital mapping to form a thick Impasto-like texture.

- UX Intent: The audience feels the 'load of energy' created by the subject's repetitive compulsion in these accumulated layers. This is not just a good-looking pattern, but a trace of longing that has been painted thousands of times to make up for deficiencies, and comes as a persistent will that dominates the entire stage.

④ Tension of divergence (1 - partial): the threshold of Asymptotic Tension The tension at the moment the denominator converges to '0' should keep the stage on the verge of collapse.

• Design Implementation: The tip of the spiny asymptotic structure converges to 0.1 mm thin lines, where a fiery Incandescent Light is emitted. Visual tension is at its peak at the boundary where the lines disappear into the vanishing point as if they were touching it.

- UX Intent: The audience experiences a critical point where the stage is about to explode or open to an infinite dimension. The thin lines that extend beyond the frame transform the mathematical paradox that the subject's desire (M_desire) radiates infinitely beyond the physical limits into visual catharsis.

- Stage mechanism based on the application of the Magic Flute Stage Formation Checklist

1. Presence of the Void

- Visual: Flamboyant geometric devices fill the stage, but at the center is a Vantablack void core that devours all light. As the surrounding splendor increases, the darkness at the center contrasts more clearly, showing off the 'absence of the center.'

- Effect: The audience visually feels the underlying hunger that is not filled at the same time while watching a full stage.

2. Partial & Fluidity of Differential Surfaces)

- Visual: The aeroshells on the stage surface flash in complementary colors of fluorescent light green and red. Interrupt HUD's rough strokes cross over Tamino's face, preventing the audience's gaze from being fixed on the protagonist. Gaze is forced to flow between the fragmented layers.

- Effect: The audience experiences an unstable position where the subject's gaze is constantly segmented and readjusted by the other.

3. Layers of cumulative longing

- Visual: The spiral modular skin is not just a flat pattern, it reveals a thick physical thickness like an Impasto oil painting that has been painted thousands of times. The layered engraving texture weighs heavily on the stage and embodies a mechanical repetition compulsion.

- Effect: The traces of cravings accumulated to make up for deficiencies become huge loads of energy and pressure the audience.

4. 발산(1 - partial)의 긴장 (Threshold of Asymptotic Tension)

- Visual: Visible structures extending from every corner of the stage converge to an extreme line of 0.1 mm and disappear to a vanishing point. At the end of that convergence, a burning incandescent light emanates, maintaining a tight critical point on the verge of collapse of the stage frame.

- Effect: The audience feels the catharsis and ontological liberation of the moment the mathematical paradox turns into a visual explosion.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》--11-UI (User Interface)

- UI (User Interface) 마술피리 디자인 공간 구성 및 기술적 무대장치 구현

1. UI 공간 구성: 시각적 부유와 직관적 공백

① 무대디자인 UI 공간 구성: 시각적 부유와 직관적 공백

무대 UI의 핵심은 관객이 물리적 장치를 인지하기 전에 '결핍(emptyset)'과 '부유(partial)'의 상태를 직관적으로 느끼게 하는 데 있습니다.

- [A] 보이드 인터페이스(Void Interface): 중심의 부재

• 공간 구성: 무대 중심부에 거대한 보이드 코어(Void Core)를 배치합니다. 이는 UI 디자인에서의 '화이트 스페이스(White Space)'를 극단적으로 확장한 개념입니다.

• 기술적 구현: Vantablack 코팅: 중심 원통형 구조 내부를 빛 반사율이 거의 없는 Vantablack으로 마감하여, 조명이 비추어도 거리감을 상실하게 만드는 '시각적 블랙홀'을 형성합니다.

• 공백의 UI: 관객의 시선이 집중되는 곳에 아무것도 존재하지 않게 함으로써, "이 비어있는 곳은 무엇으로 채워지는가?"라는 근원적 욕망을 자극합니다.

- [B] 안티-그래비티 레이아웃(Anti-Gravity Layout): 시각적 부유

• 공간 구성: 무대 위의 기하학적 파편(에어로 셸)들이 지면과 접촉하지 않고 공중에 떠 있는 배치를 취합니다.

- 기술적 구현:

• 자기 부상 시스템(Magnetic Levitation): 무대 하부와 오브제 내부에 초전도체 및 전자석을 매립하여, 물리적 지지대 없이 오브제가 공중에 부유하게 합니다.

• 투명 탄소 섬유 와이어: 자기 부상이 어려운 대형 구조물은 빛의 굴절률과 일치하는 특수 나노 와이어로 고정하여, 관객의 눈에는 장치가 허공에 떠 있는 것처럼 보이게 합니다.

User Interface (UI) Magic Flute Design Space Composition and Technical Stage System Implementation

1. Stage Design UI Space Composition: Visual Floating and Intuitive Spaces

The core of the stage UI is to make the audience intuitively feel the state of 'emptyset' and 'partial' before recognizing the physical device.

- [A] Void Interface: Central absence

• Space composition: Place a huge void core in the center of the stage. This is an extreme extension of the 'White Space' in UI design.

• Technical Implementation: Vantablack Coating: The interior of the central cylindrical structure is finished with Vantablack with little light reflectance, forming a 'visual black hole' that causes a sense of distance when illuminated.

• UI of the void: By making sure nothing exists where the audience's eyes are focused, it stimulates the fundamental desire of "What is this void filled with?"

- [B] Anti-Gravity Layout: Visual Floating

• Space composition: Geometric fragments (aeroshells) on stage take an airborne arrangement without contact with the ground.

- Technical Implementation:

• Magnetic levitation: Superconductors and electromagnets are embedded in the lower part of the stage and inside the object, allowing the object to float in the air without any physical support.

• Transparent Carbon Fiber Wire: Large structures that are difficult to magnetic levitate are secured with special nanowires that match the refractive index of light, making the device appear to be floating in the air to the audience's eyes.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-12

2. 마술피리 무대장치 기술적 디자인 구현

1. 인터랙티브 에어로 셸 (Interactive Aero-Shell)

- 시각: 밤의 여왕이 등장하며 격렬한 분노를 터뜨립니다. 그녀의 등 뒤로 무대를 감싸고 있던 수천 개의 미세한 알루미늄 파편들이 마치 살아있는 생명체처럼 일제히 날카로운 각도로 꺾입니다. 이 파편들이 무대 조명을 사방으로 산란시키며, 공간 자체가 칼날처럼 날카롭고 위험한 질감으로 변합니다.

- 효과: 무대 장치가 단순한 배경이 아니라 시나리오와 인물의 감정에 실시간으로 반응하는 '가변적 픽셀' 역할을 수행하며, '분노'라는 추상적인 감정을 시각적이고 물리적인 질감으로 변환합니다.

2. 레이어드 홀로그램 스크린 (Layered Hologram Screen)

- 시각: 타미노와 파미나가 서로를 향해 손을 뻗습니다. 그들 사이, 무대 전면에 다층으로 배치된 투명 메쉬 스크린 위로 거친 임파스토(Impasto) 질감의 기하학적 선들이 실시간으로 투사됩니다. 두 주인공의 얼굴은 이 두꺼운 유화 질감의 가상 선들에 가려져 파편적으로만 보입니다.

- 효과: 실제 배우와 가상의 기하학적 획들이 물리적으로 중첩(Layering)되며, 실재와 환상(욕망) 사이의 경계가 무너지는 시각적 카타르시스를 제공합니다. 관객은 이 겹쳐진 틈새를 통해서만 타자를 인식하게 됩니다.

2. Magic Flute Stage Equipment Technical Design Implementation

1. Interactive Aero-Shell

- Visual: The Queen of the Night appears and bursts into furious rage. Behind her back, the thousands of tiny fragments of aluminum that surrounded the stage are bent at sharp angles all at once, just like a living creature. The fragments scatter the stage lights in all directions, and the space itself turns into a blade-sharp and dangerous texture.

- Effect: The stage setup is not just a background, it acts as a 'variable pixel' that responds in real time to scenarios and characters' emotions, transforming abstract emotions called 'anger' into visual and physical textures.

2. Layered Hologram Screen

- Visual: Tamino and Pamina reach for each other. Between them, geometric lines of rough Impasto texture are projected in real time over a screen of transparent mesh placed multi-layers across the front of the stage. The faces of the two protagonists are blocked by these thick, oil-textured virtual lines, making them appear fragmented.

- Effect: Real actors and virtual geometric strokes are physically layered, providing a visual catharsis where the boundary between reality and fantasy falls apart. The audience recognizes the other only through this overlapping gap.

[Louis Choi's Desire "M_desire = ∑∅∂ / (1 - ∂)" Structural Abstraction Design Process]

- Step 1: Positioning of emptyset

"Every being begins with an empty center."

• Perform: After the whole canvas is painted, leave the bare ground at the most visually loaded point (mainly the center or golden split point) or mark the 'nucleus of the member' with the deepest black (such as Vantablack).

• Intention: This emptyset is the engine of desire. It's the step of setting up the 'gravity of deficiency' that makes all the formations around you rush to fill this void.

• Tip: Leave it in the form of irregular cracks rather than perfect circles, giving The Real a tension that seems to break through the symbolic world (picture).

- Step 2: Differentiation of partial

"The gaze is disconnected, and readjusted through the batter."

• Perform: Draw fine, sharp strokes that surround the center of the void. In this case, short, broken lines are placed in pieces as if they were differentiated without drawing long lines at once.

• Intent: partial is the process of constantly modifying one's gaze in relation to another. Uncorrected rough texture (Impasto) or overlapping layers makes the viewer's gaze unable to stay in one place and float.

• Tip: Use colors with strong complementary contrast (e.g., fluorescent light green and red in the image) to induce visual collisions.

- Step 3: Repetitive Rhythm Proliferation (Summation of Sum)

"Unmet desires flow in patterns."

• Perform: Repeat the differential strokes made in step 2, extending into a spiral or concentric structure with constant regularity.

• Intent: sum is a repetitive compulsion. It expresses the mobility of a subject who repeats similar actions to make up for the same emptyset. Each module looks alike, but should never be the same. Through repetitions that are gradually transformed, the screen captures 'the passage of time' and 'the accumulation of energy'.

• Tip: Intentionally creating mechanical repeatability by mixing stencil techniques or engraving elements will better reveal Louisi-style "data desires."

- Step 4: Completion of asymptotic divergence (Asymptotic Limit of 1 - partial)

"As we get closer to completion, the painting opens up infinitely."

• Perform: Extremely increase the detail at the end of the entry into the center emptyset or extending outwards. Create points where the lines are thin enough to converge to zero, or where the color becomes intense as if it were burning.

• Intent: Visualize mathematical paradoxes in which the sum of desires ($M$) radiates infinitely as the denominator (1-partial) approaches zero.

• Tip: Use a thin visible structure converging towards a vanishing point or a dripping technique that looks like a color splashing over the canvas to finish by suggesting that the picture is not trapped in the frame but is expanding indefinitely.

- Final Step: A Formation Checklist (Critic's Eye)

1. Do I feel a void (∅) : I should still feel hungry as if something is empty even though I've filled the screen.

2. Is the gaze (∂) distracted? : The eye of the viewer is not fixed in one place and has to move constantly along the differentiated pieces.

3. Is there a load of repetition (∑)? : The persistent longing of the subject should be felt as a thickness in the layered layers.

4. Is there a tension of divergence (1 - ∂)? : The tension of the asymptote that is almost touching should dominate the entire screen.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-13

[욕망 구조 공식"M_desire = ∑∅∂ / (1 - ∂)"을 UX/UI 디자인에 적용] : 사용자의 내재된 욕망을 파악하여 인터페이스를 통해 이를 극대화하고 만족시키는 디자인 과정이다. 이는 단순히 시각적으로 아름다운 UI를 넘어, 사용자의 행동을 유도하고 지속적인 신뢰도를 만들어내는 행동 심리학적 접근한다.

1. 욕망 구조 공식 구성 요소의 UX/UI 해석

• M_desire (욕망 총량): 사용자가 제품/서비스를 통해 도달하고자 하는 최종 목표 및 감정적 만족도.

• ∑ (합산/반복): 사용자의 행동이 긍정적인 경험으로 반복되도록 설계하는 UX 플로우.

• ∅ (결핍/대상): 사용자가 현재 겪고 있는 불편함(Pain Point) 또는 필요(Need)를 정확히 파악하여 UI에서 해결책으로 제시.

• ∂ (상호작용/강도): 사용자가 앱/웹과 소호작용하는 빈도와 강도. 인터랙션 디자인(마이크로 인터랙션, 애니메이션)을 통해 극대화.

• (1 - ∂) (저항/이탈): 사용자가 목표에 도달하기까지 겪는 마찰(Friction)과 이탈률을 최소화하는 구조.

2. 욕망 공식 기반 UX/UI 디자인 적용 단계

•결핍(∅)의 발견 (UX 리서치):

1-사용자가 무엇을 원하고, 어떤 불편함을 겪는지 파악합니다.

2-UI에서 정보 구조(IA)를 직관적으로 구성하여 결핍을 해소할 수 있는 곳으로 즉시 안내합니다.

•상호작용(∂)의 설계 (UI 인터랙션):

1-버튼 클릭, 스와이프, 전환 효과 등 세밀한 인터랙션(마이크로 인터랙션)을 통해 재미와 피드백을 제공합니다.

2-시각적 대비와 명확한 계층 구조를 활용하여 사용자가 원하는 요소에 집중하도록 설계합니다.

•저항(1 - ∂)의 최소화 (사용성 최적화):

1-복잡한 가입 절차, 로딩 속도, 모호한 메뉴 등을 줄여 사용자가 목표까지 가는 과정을 매끄럽게 합니다.

2-일관성 있는 디자인 시스템(Design Token)을 적용해 인지 부하를 줄입니다.

•반복(∑)의 창출 (지속 가능한 경험):

1-긍정적인 경험을 학습한 사용자가 다시 방문하도록 푸시 알림, 보상 시스템, 맞춤형 콘텐츠(개인화)를 제공합니다.

3. [욕망 구조 공식"M_desire = ∑∅∂ / (1 - ∂)"을 UX/UI 디자인에 적용] : 사용자의 내재된 욕망을 파악하여 인터페이스를 통해 이를 극대화하고 만족시키는 디자인 과정이다. 이는 단순히 시각적으로 아름다운 UI를 넘어, 사용자의 행동을 유도하고 지속적인 신뢰도를 만들어내는 행동 심리학적 접근한다.

1. 욕망 구조 공식 구성 요소의 UX/UI 해석

• M_desire (욕망 총량): 사용자가 제품/서비스를 통해 도달하고자 하는 최종 목표 및 감정적 만족도.

• ∑ (합산/반복): 사용자의 행동이 긍정적인 경험으로 반복되도록 설계하는 UX 플로우.

• ∅ (결핍/대상): 사용자가 현재 겪고 있는 불편함(Pain Point) 또는 필요(Need)를 정확히 파악하여 UI에서 해결책으로 제시.

• ∂ (상호작용/강도): 사용자가 앱/웹과 소호작용하는 빈도와 강도. 인터랙션 디자인(마이크로 인터랙션, 애니메이션)을 통해 극대화.

• (1 - ∂) (저항/이탈): 사용자가 목표에 도달하기까지 겪는 마찰(Friction)과 이탈률을 최소화하는 구조.

2. 욕망 공식 기반 UX/UI 디자인 적용 단계

•결핍(∅)의 발견 (UX 리서치):

1-사용자가 무엇을 원하고, 어떤 불편함을 겪는지 파악합니다.

2-UI에서 정보 구조(IA)를 직관적으로 구성하여 결핍을 해소할 수 있는 곳으로 즉시 안내합니다.

•상호작용(∂)의 설계 (UI 인터랙션):

1-버튼 클릭, 스와이프, 전환 효과 등 세밀한 인터랙션(마이크로 인터랙션)을 통해 재미와 피드백을 제공합니다.

2-시각적 대비와 명확한 계층 구조를 활용하여 사용자가 원하는 요소에 집중하도록 설계합니다.

•저항(1 - ∂)의 최소화 (사용성 최적화):

1-복잡한 가입 절차, 로딩 속도, 모호한 메뉴 등을 줄여 사용자가 목표까지 가는 과정을 매끄럽게 합니다.

2-일관성 있는 디자인 시스템(Design Token)을 적용해 인지 부하를 줄입니다.

•반복(∑)의 창출 (지속 가능한 경험):

1-긍정적인 경험을 학습한 사용자가 다시 방문하도록 푸시 알림, 보상 시스템, 맞춤형 콘텐츠(개인화)를 제공합니다.

3. 루이 최 욕망 구조 공식의 구성 요소 적용

욕망 구조 공식은 UI/UX 디자이너 루이 최(Louis Choi)가 제안한 개념으로, 사용자의 욕망을 데이터와 구조로 시각화하여 디자인에 반영하는 프레임워크입니다. 이 공식은 단순히 예쁜 디자인이 아니라, 사용자가 특정 행동을 하게 만드는 '심리적 동기'를 설계하는 데 목적이 있습니다. 이 욕망 구조 공식의 각 기호는 UX 디자인의 핵심 심리 요소를 의미합니다.

1-욕망 구조 공식의 구성 요소

• ∑ (합산): 사용자가 서비스에서 느끼는 모든 긍정적 가치의 총합입니다.

• ∅ (결핍/부재): 사용자가 현재 느끼는 불편함이나 부족한 상태입니다. 디자인은 이 결핍을 해결해 주어야 합니다.

• ∂ (변화/변수): 사용자의 상황이나 환경의 변화입니다. 트렌드나 사용자 맥락에 따라 욕망의 크기가 달라짐을 의미합니다.

• 1 - ∂ (저항): 새로운 서비스에 적응하거나 기존 습관을 바꾸는 데 따르는 비용과 심리적 거부감입니다.

2-UX/UI 디자인 적용 전략

욕망 공식을 실제 디자인 프로세스에 적용하면 다음과 같은 단계로 구체화할 수 있습니다.

① 결핍(∅)의 발견: 페인 포인트 정의

• 사용자가 "왜 이 서비스를 써야 하는가?"에 대한 답을 디자인에 녹입니다.

• UI 적용: 사용자가 느끼는 결핍을 직관적으로 인지할 수 있는 히어로 이미지나 문구 배치

• UX 적용: 문제 해결을 위한 가장 빠른 경로(Happy Path) 설계

② 가치의 극대화(∑): 보상 체계 설계

• 사용자가 특정 행동을 완료했을 때 얻는 이익을 시각적으로 강조합니다.

• UI 적용: 성공 메시지, 배지 부여, 마일리지 적립 등의 시각적 피드백 제공

• UX 적용: 게이미피케이션(Gamification) 요소를 도입하여 지속적인 몰입 유도

③ 저항((1 - ∂))의 최소화: 사용성 개선

• 공식의 분모에 해당하는 '저항'을 줄여야 전체 욕망(M)이 커집니다.

• UI 적용: 복잡한 폼(Form)을 단순화하고, 클릭 범위를 최적화하여 물리적 저항 제거

• UX 적용: 점진적 공개(Progressive Disclosure) 원칙을 적용하여 초기에 너무 많은 정보를 주지 않음

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-14

[Applying the Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)" to UX/UI design]: It is a design process that identifies the user's inner desires and maximizes and satisfies them through an interface. It goes beyond just a visually beautiful UI, and it is a behavioral psychology approach that induces the user's behavior and creates lasting reliability.

1. UX/UI Interpretation of Desire Structure Formula Components

• M_desire (total amount of desire): The end goal and emotional satisfaction that the user wants to reach through the product/service.

• ∑ (sum/repeat): a UX flow that designs the user's behavior to be repeated as a positive experience.

• ∅ (deficient/target): Identify the user's current discomfort (Pain Point) or Need and present it as a solution in the UI.

• ∂ (interaction/intensity): frequency and intensity of user interaction with app/web. Maximize through interaction design (micro-interaction, animation).

• (1 - ∂) (resistance/departure): A structure that minimizes friction and churn rates that the user experiences to reach the target.

2. Desire Formula-Based UX/UI Design Application Steps

• Detection of deficiency (∅) (UX Research):

1- Identify what users want and what inconveniences they experience.

Intuitively configure Information Structure (IA) in 2-UI to instantly guide you to where deficiencies can be resolved.

•Design of interaction (∂) (UI interaction):

Provides fun and feedback through detailed interactions (micro-interactions) such as 1-click button, swipe, and conversion effect.

2-Design to focus on the elements you want by leveraging visual contrast and a clear hierarchy.

•Minimize resistance (1 - ∂) (optimize usability):

1-Reduce complex subscription procedures, loading speeds, and ambiguous menus to smooth the process for users to reach their goals.

Apply a 2-consistent design token to reduce cognitive load.

• Creation of iterations (∑) (sustainable experience):

1-Provide push notifications, reward systems, and customized content (personalization) for users who have learned positive experiences to revisit.

3. Application of components of Louis Choi Desired Structural Formula

The Desire Structure Formula is a concept proposed by UI/UX designer Louis Choi, which is a framework that visualizes a user's desire into data and structure and reflects it in the design. The formula aims not only to have a pretty design, but to design 'psychological motivations' that make users perform certain actions. Each symbol in this Desire Structure Formula stands for the core psychological element of UX design.

Components of the 1-Desire Structural Formula

• ∑ (Total): The sum of all the positive values the user feels in the service.

• ∅ (deficiency/absence): The user is experiencing any inconvenience or deficiency. Design should address this deficiency.

• ∂ (change/variable): A change in the user's situation or environment. It means that the size of desire varies depending on the trend or the user's context.

• 1 - ∂ (resistance): The cost and psychological reluctance of adapting to new services or changing existing habits.

2-UX/UI Design Application Strategy

Applying the Desire Formula to the actual design process, it can be embodied in the following steps.

① Discovery of deficiency (∅):pane point definition

• The user melds the answer to "Why should I use this service?" into the design.

• UI application: deployment of hero images or phrases that allow users to intuitively recognize deficiencies

• Apply UX: Design the fastest path to troubleshooting

② Maximizing Value (∑): reward scheme design

• Visually highlights the benefits a user gains from completing a particular action.

• UI application: Provides visual feedback such as success message, badge assignment, mileage accruals, etc

• UX Application: Introduce gamification elements to drive continuous immersion

③ Minimize resistance (1 - ∂)): usability improvement

• The total desire (M) increases by reducing the 'resistance', which corresponds to the denominator of the formula.

• UI Application: Simplifies complex forms and optimizes click range to eliminate physical resistance

• UX Application: Apply Progressive Disclosure Principles to Don't Give Too Much Information Early

Product Design Aesthetic Critique by Choi Chul-joo

The traces of design found within LLM data are not merely patterns or meaningful combinations but a reflection of desire "structured like the unconscious language of the Other." Here, AI doesn't learn surface human needs; instead, it reconstructs fundamental human lack and desire within the symbolic order formed by vast linguistic signs. Initial design sketches generated by LLMs, such as the strangely shaped chair, reveal a "symbolic lack" in conventional functional and aesthetic norms. This means that the absence of "The Real"—like the stability or comfort a chair should provide—paradoxically causes the user to project their own desires onto its deficient form.This type of design becomes the genesis of "cartoonistic realism." Rather than excessive detail or perfect replication of physical laws, it exaggerates the gap between essential function and form with stylized lines and amorphous curves, compelling the viewer to confront the "ghost of desire" hidden beneath the product's "surface." Design is no longer solely a matter of "beauty" or "utility" but becomes a philosophical act of deciphering the reflection of the human unconscious mirrored in AI. In this process, the product itself induces "hallucinations," transcending existing design copyrights or norms, and only acquires its ontological meaning through the collision with "The Real."

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-15

[기호학적 모빌리티 인터페이스를 적용한 무대 디자인]

① 무대 센터 코어: 무대장치 결여로서의 공허 내비게이터 (The Void Navigator)이 장치는 무대의 물리적 중심이자, 시나리오상의 모든 갈등과 욕망이 수렴하고 발산되는 기호학적 허브입니다

- UI 디자인: 존재론적 결여의 인터페이스 시각적 정의 (Visual Identity): 내비게이터는 역설적으로 '비어 있음'을 통해 자신의 존재를 증명합니다. 무대 중앙에 떠 있는 거대한 Vantablack 구체 혹은 원통은 주변의 모든 빛과 시선을 흡수하여, 관객으로 하여금 가늠할 수 없는 깊이의 공허(emptyset)를 마주하게 합니다.

- 기호학적 모빌리티: 이 코어는 고정되어 있지 않습니다. 보이지 않는 자기장 시스템에 의해 무대 위를 미세하게 부유하며, 인물들의 욕망 수치(partial)에 따라 팽창하거나 수축하는 듯한 시각적 착시를 일으킵니다. 이는 주체가 도달하고자 하는 '결여된 대상(Object Petit a)'을 향해 항해하는 내비게이터 역할을 수행합니다.

- 기술적 구현: 욕망의 엔진(Engine of Desire) 싱귤래리티 디스플레이 (Singularity Display): 코어의 내부 경계면에는 초미세 레이저 프로젝션이 투사됩니다. 이곳에서 미분적 획(Partial Strokes)들이 소용돌이치며 생성되고 소멸하는데, 이는 주체의 시선이 타자에 의해 끊임없이 재조정되는 과정을 실시간 데이터로 보여주는 UI 창입니다.

- 반응형 기하학 (Responsive Geometry): 밤의 여왕의 아리아나 타미노의 결단 등 극적 에너지가 임계점에 도달하면, 내비게이터 주변의 가시형 점근 구조들이 코어를 향해 초고속으로 수렴합니다. 이때 분모(1-partial)가 '0'에 가까워지며 코어는 타버릴 듯한 백열광을 내뿜으며 무한한 공간으로 열리는 시각적 폭발을 일으킵니다.

- UX 의도: 결핍을 통한 항해]직관적 허기짐: 관객은 이 '공허 내비게이터'를 바라보며 무대 위의 화려한 장치들이 사실은 이 중심의 구멍을 메우기 위한 필사적인 시도임을 깨닫습니다.

- 시선의 내비게이션: 관객의 시선은 코어의 암흑 속으로 침잠했다가, 다시 튕겨 나와 무대 외곽의 파편화된 에어로 셸로 흩어집니다. 이 과정에서 관객은 자신의 욕망이 기하학적으로 해체되고 재구성되는 기호학적 이동(Mobility)을 경험하게 됩니다.

- 무대 디자인: 기호학적 모빌리티 인터페이스: 공허 내비게이터

1. 무대 센터 코어: 공허 내비게이터 (The Void Navigator: [1])

- Visual: 무대 중앙, 모든 빛을 삼키는 Vantablack 공허 구체가 거대한 블랙홀처럼 떠 있습니다. 주변의 화려한 기하학적 장치들과 대조되는 이 절대적인 어둠은 빛을 흡수함으로써 자신의 존재감을 과시합니다.

- Effect: 관객은 무대 위의 화려한 기술적 장치들을 보면서도, 동시에 그 모든 장치가 메우려 애쓰는 '중심의 부재'를 직관합니다. 가득 찬 무대 위에서 느껴지는 이 역설적인 허기짐은, 밤의 여왕과 자라스트로가 갈망하는 '완결성'에 대한 불가능성을 상징합니다.

2. 싱귤래리티 디스플레이 (Singularity Display: [1-1])

- Visual: 공허 내비게이터의 내부 경계면에 초미세 레이저 프로젝션이 투사됩니다. 이곳에서 미분적 획들이 소용돌이치며 생성되고 소멸하는데, 이는 주체의 시선이 타자에 의해 끊임없이 재조정되는 과정을 실시간 데이터로 보여주는 UI 창입니다.

- Effect: 관객은 이 싱귤래리티 디스플레이를 통해 주체의 시선이 끊임없이 분절되고 재조정(partial)되는 주체의 불안정한 위치를 체험하게 됩니다.

3. 가시형 점근 구조 수렴 (Asymptotic Convergence: [1-2])

- Visual: 밤의 여왕의 아리아나 타미노의 결단 등 극적 에너지가 임계점에 도달하면, 내비게이터 주변의 가시형 점근 구조들이 코어를 향해 초고속으로 수렴합니다. 이때 분모(1-partial)가 '0'에 가까워지며 코어는 타버릴 듯한 백열광을 내뿜으며 무한한 공간으로 열리는 시각적 폭발을 일으킵니다.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-16

[Stage Design with Semiotic Mobility Interface]

① Stage Center Core: The Void Navigator as a Lack of Stage Device This device is the physical center of the stage and a semiotic hub where all the conflicts and desires in the scenario converge and diverge

- UI Design: An Ontic Definition of Interfaces Visual Identity: Navigators paradoxically prove their existence through 'empty.' A huge Vantablack sphere or cylinder floating in the center of the stage absorbs all the light and gaze around it, making the audience face an emptyset of immeasurable depth.

- Semiotic Mobility: This core is non-stationary. It floats minutely on stage by an invisible magnetic field system, causing a visual illusion that expands or contracts depending on the figures' desire levels. It acts as a navigator, navigating towards the 'Object Petita' the subject is trying to reach.

- Technical Implementation: Engine of Desire Singularity Display: Ultra-fine laser projections are projected onto the inner interface of the core. Here, Partial Strokes swirl and create and dissipate, a UI window that shows the process of constantly readjusting the subject's gaze by the other in real-time data.

- Responsive Geometry: When dramatic energy, such as the determination of Ariana Tamino of the Queen of Night, reaches a critical point, visible asymptotic structures around the navigator converge at superfast speed toward the core. At this point, the denominator (1-partial) approaches "zero," and the core emits a burning incandescent light, causing a visual explosion that opens into infinite space.

- UX Intention: Navigation Through Deficiency] Intuitive Hunger: The audience looks at this 'vacuum navigator' and realizes that the colorful devices on stage are actually a desperate attempt to fill this central hole.

- Navigation of Gaze: The audience's gaze subsides into the darkness of the core, then bounces back and disperses to the fragmented aeroshell outside the stage. In this process, the audience experiences a semiotic mobility in which their desires are geometrically dismantled and reconstructed.

- Stage Design: Semiotic Mobility Interface: Empty Navigator

1. Stage Center Core: Empty Navigator (The Void Navigator: [1])

- Visual: In the center of the stage, a Vantablack void sphere that swallows all light floats like a giant black hole. This absolute darkness, in contrast to the colorful geometric devices around it, shows off its presence by absorbing light.

- Effect: The audience looks at the colorful technological devices on stage, while at the same time witnessing the 'centered absence' that all of them strive to fill. This paradoxical hunger felt on the stage represents the impossibility of the 'completeness' that the Queen of the Night and Zarastro crave.

2. Singularity Display (Singularity Display: [1-1])

- Visual: Hyperfine laser projections are projected onto the internal interface of the empty navigator. Here, differential strokes swirl and are created and dissipated, a real-time UI window that shows how the subject's gaze is constantly readjusted by the other.

- Effect: Through this Singularity display, the audience will experience the unstable position of the subject in which the subject's gaze is constantly segmented and readjusted.

3. Convergence of Visible Asymptotic Structures (Asymptotic Convergence: [1-2])

- Visual: When dramatic energy, such as Ariana Tamino's determination of Queen of the Night, reaches a critical point, visible asymptotic structures around the navigator converge at superfast speed toward the core. At this point, the denominator (1-partial) approaches "0" and the core emits a burning incandescent light, causing a visual explosion that opens into infinite space.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》- 17

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.

- 마술피리 무대 디자인 적용: 데이터 기반 기표의 시각화

1. 시각적 기표의 알고리즘 생성

• 분석 결과: AI는 '밤의 여왕'의 분노를 '날카로움'이라는 추상적 기표로 정의하고, 이를 partial(변수)의 급격한 증가로 연산합니다.

• UI 구현: 무대 장치는 여왕의 노래 소리에서 추출된 주파수 데이터를 실시간으로 마이닝하여, 수천 개의 날카로운 삼각형 파편(에어로 셸)으로 형태를 변환합니다. 이는 작가의 의도가 아닌, 데이터가 지시하는 무의식적 형상입니다.

2. 결여(Lack)의 공간적 배치

• 분석 결과: 관객이 느끼는 근원적 허무를 emptyset(공백)으로 데이터화합니다.

• UI 구현: AI는 무대에서 가장 시선이 집중되는 '소실점'에 물리적 오브제를 배치하는 대신, 보이드 코어(Void Core)라는 공백의 기표를 생성합니다. 이는 사용자의 미충족된 욕망이 머무는 데이터적 싱귤래리티입니다.

3. 무의식적 맥락의 흐름: 유동적 디자인

• 분석 결과: 서사의 논리적 인과관계가 아닌, 감정의 '흐름'을 sum(시그마)로 누적합니다.

• UI 구현: 무대 바닥의 레이저 그리드와 천장의 모듈러 스킨은 AI가 파악한 무의식적 리듬에 따라 증식합니다. 관객은 줄거리를 이해하기 전에, 무대 장치의 움직임만으로도 인류 공통의 무의식적 언어 구조를 직관하게 됩니다.

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.

- Applying Magic Flute Stage Design: Visualization of Data-Based Signals

1. Create an algorithm for visual signifiers

• Results of the analysis: AI defines the anger of the 'Queen of the Night' as an abstract signifier of 'sharpness' and calculates it as a sharp increase in partial (variable).

• UI Implementation: Stage equipment mines frequency data extracted from the Queen's singing voice in real time, transforming its shape into thousands of sharp triangular fragments (aeroshells), not the artist's intention, but the unconscious shape the data dictates.

2. Spatial placement of Lack

• Results of the analysis: The fundamental emptiness felt by the audience is converted into data as an emptyset.

• UI Implementation: Instead of placing a physical object at the "lost point" where the stage's attention is most focused, AI creates a blank signifier called the Void Core. This is a data singularity where the user's unmet desires stay.

3. Flow of unconscious context: fluid design

• Results of analysis: Accumulate the 'flow' of emotions into sum (sigma), not the logical causal relationship of the narrative.

• UI Implementation: The laser grid on the stage floor and the modular skins on the ceiling multiply according to the unconscious rhythms identified by AI. Before understanding the plot, the audience will experience the unconscious language structure common to mankind only by the movement of the stage equipment.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-18

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.

- 마술피리 무대 디자인 적용: 상징적 결여의 스케치

1. 거세된 질서: 자라스트로의 사원

• AI 제안: 모든 각도가 정확히 일치하는 황금비의 신전 구조.

• 개념추상 필터 적용: 신전의 기둥 중 하나를 완전히 삭제하거나, 천장을 대칭에서 어긋난 가시형 점근 구조로 변형합니다.

• 디자인 결과: 완벽한 지혜의 상징인 사원은 어딘가 결여된 형태를 띠게 되며, 관객은 그 '비어 있음'을 통해 절대 진리에 대한 상징적 의구심과 갈망을 동시에 느낍니다.

2. 비대칭적 유동성: 밤의 여왕의 아리아

• AI 제안: 화려한 프랙탈 구조의 대칭적 배경.

• 개념추상 필터 적용: 프랙탈의 반복을 무작위로 절단하고, 단절된 미분적 획들로 공간을 파편화합니다.

• 디자인 결과: 여왕의 권위는 완성된 형태가 아닌, 찢겨진 공간의 실루엣으로 존재합니다. 이는 그녀의 악(惡)이 실체가 아니라 '결여된 상태'임을 시각적으로 증명하는 유령적 실루엣이 됩니다.

3. 공간적 빈틈: 파파게노의 새장

• AI 제안: 촘촘하고 기계적인 그리드 형태의 새장.

• 개념추상 필터 적용: 그리드의 일부 선들을 생략하여 네거티브 스페이스를 극대화합니다.

• 디자인 결과: 새장은 형태적으로 완성되지 않았지만, 그 빈틈이 만드는 '결핍의 중력'은 관객으로 하여금 갇혀 있지 않으면서도 벗어날 수 없는 인간의 존재론적 제약을 직관하게 합니다.

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.

- Magic Flute Stage Design Application: Sketch of Iconic Lack

1. Castrated Order: Temple of Zarastro

• AI Suggestion: Golden Rain's Temple Structure where all angles are exactly the same.

• Apply Concept Abstract Filter: Completely delete one of the columns of the extension, or transform the ceiling into a visible asymptotic structure that deviates from symmetry.

• Design Results: The temple, a symbol of perfect wisdom, takes on a form that is missing somewhere, and through that 'empty', the audience feels both symbolic doubts and cravings for the absolute truth.

2. Asymmetric Liquidity: The Queen's Aria at Night

• AI Suggestion: Symmetrical background of fancy fractal structure.

• Applying a concept abstract filter: randomly cutting iterations of fractals, fragmenting space with broken differential strokes.

• Design Result: the queen's authority exists not in its complete form, but as a silhouette of a torn space. This becomes a ghost silhouette that visually proves that her evil (惡) is not a substance but a "defective state."

3. Spatial gaps: Papagueno's cage

• AI Suggestion: A cage in the form of a dense, mechanical grid.

• Apply concept abstract filter: maximize negative space by omitting some lines on the grid.

• Design Results: The cage is not complete in form, but the "gravity of deficiency" the gap creates allows the audience to intuit the ontological constraints of humans, who are not trapped and cannot escape.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-19

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.

- 마술피리 무대 디자인 적용: 환각의 사건 콘티

1. 밤의 여왕의 등장: 중력의 환각 (Anti-Gravity Event)

AI 환각: 여왕의 의상이 무대 바닥과 천장을 동시에 점유하며 물리적으로 불가능한 위상(Topology)을 형성합니다.

콘티 구성: 여왕이 노래를 시작할 때, 배경의 기하학적 파편들이 그녀의 입을 향해 빨려 들어갔다가 다시 사방으로 튕겨 나가는 만화적 연출을 적용합니다.

결과: 여왕은 인간이 아닌, 공간의 뒤틀림 그 자체로 묘사되어 악의 압도적 에너지를 시각화합니다.

2. 시련의 동굴: 공간적 환각 (Non-Euclidean Labyrinth)

AI 환각: 입구는 하나인데 출구가 수만 개인, 혹은 직선을 걸어도 제자리로 돌아오는 미로의 도면입니다.

콘티 구성: 타미노가 걷는 보폭에 맞춰 무대 바닥의 그리드가 고무처럼 늘어났다가 수축하는 기괴한 움직임을 콘티화합니다.

결과: 시련은 육체적 고통이 아니라, 주체가 믿어온 공간적 질서가 붕괴되는 환각적 공포로 정의됩니다.

3. 자라스트로의 심판: 빛의 환각 (Luminous Hallucination)

AI 환각: 빛이 직진하지 않고 액체처럼 바닥을 흐르며 기하학적 도형을 적시는 현상입니다.

콘티 구성: 소실점으로부터 뿜어져 나온 빛의 줄기들이 가시형 구조물에 닿는 순간, 빛이 고체화되어 부서져 내리는 장면을 묘사합니다.

결과: 진리는 명징한 논리가 아니라, 감각을 마비시키는 초월적인 환각적 조광으로 완성됩니다.

- 무대 디자인: 환각의 사건 콘티

1. 밤의 여왕의 등장: 중력의 환각 (Anti-Gravity Event)

- Visual: 여왕의 격렬한 고음과 함께, 그녀의 등 뒤로 무대를 감싸고 있던 기하학적 파편(에어로 셸)들이 마치 살아있는 생명체처럼 일제히 날카로운 각도로 꺾이며 빛을 사방으로 산란시킵니다. 이 파편들이 그녀의 입을 향해 빨려 들어갔다가 다시 사방으로 폭발적으로 튕겨 나가는 만화적 연출을 통해, 여왕은 인간이 아닌 '공간의 뒤틀림' 그 자체로 묘사됩니다.

- Effect: 관객은 무대 장치가 단순한 배경이 아니라 시나리오와 인물의 감정에 실시간으로 반응하는 '가변적 픽셀' 역할을 수행하며, '분노'라는 추상적인 감정을 시각적이고 물리적인 질감으로 변환하는 것을 목격합니다.

2. 시련의 동굴: 공간적 환각 (Non-Euclidean Labyrinth)

- Visual: 타미노가 시련의 동굴을 향해 걸어갑니다. 그가 한 걸음씩 보폭을 뗄 때마다, 무대 바닥의 레이저 그리드가 고무처럼 쭉 늘어났다가 다시 수축하는 기괴한 움직임을 보입니다. 직선으로 걸어도 제자리로 돌아오거나, 입구는 하나인데 출구가 수만 개인 비유클리드 미로(Non-Euclidean Labyrinth)의 도면이 실시간으로 생성되고 소멸합니다.

- Effect: 시련은 육체적 고통이 아니라, 주체가 믿어온 '공간적 질서'가 붕괴되는 환각적 공포로 정의됩니다. 관객은 타미노의 불안정한 시선을 통해 시선이 끊임없이 재조정(partial)되는 주체의 불안정한 위치를 체험하게 됩니다.

3. 자라스트로의 심판: 빛의 환각 (Luminous Hallucination)

- Visual: 무대 소실점으로부터 뿜어져 나온 강력한 백열광 줄기들이 무대 구석구석으로 뻗어 나온 가시형 구조물에 닿는 순간, 빛이 액체처럼 바닥을 흐르며 기하학적 도형을 적시다가 돌연 고체화되어 부서져 내리는 장면을 묘사합니다. 선들이 닿을 듯 말 듯 소실점으로 사라지는 경계에서 시각적 긴장은 극에 달합니다.

- Effect: 진리는 명징한 논리가 아니라, 감각을 마비시키는 '초월적인 환각적 조광'으로 완성됩니다. 프레임을 초월하여 뻗어 나가는 가느다란 선들은 주체의 욕망(M_desire)이 물리적 한계를 넘어 무한히 발산하는 수학적 역설을 시각적 카타르시스로 변환합니다.

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.

- Magic Flute Stage Design Application: An Iconic Sketch of Deficiency

1. The Castrated Knights: Temple of Zarastro

• AI Suggestion: Temple structure of golden rain with all angles exactly the same.

• Apply Concept Abstract Filter: Completely delete one of the columns of the extension or convert the ceiling into a visible asymptotic structure that is out of symmetry.

• Design Outcome: The temple, a symbol of perfect wisdom, takes a form that is nowhere to be found, and through that 'emptiness', the audience feels both symbolic doubt and a longing for absolute truth.

2. Asymmetric Liquidity: Aria, Queen of the Night

• AI Suggestion: A symmetrical background of fancy fractal structure.

• Applying Concept Abstract Filters: randomly cuts iterations of fractals, and carves out spaces where differential strokes are broken.

• Design Result: The queen's authority exists not in its complete form but in the silhouette of a torn space. This becomes a ghost silhouette that visually proves that her evil (惡) is not a substance but a "state of defect."

3. Spatial Spaces: Us in Papagueno

• AI Suggestion: Cages in dense mechanical grid form.

• Apply a concept abstract filter: maximize negative space by omitting some lines from the grid.

• Design Outcome: The cage's form is not complete, but the "gravity of deficiency" created by the niche allows the audience to intuit the human ontological constraints of being trapped and unable to escape.

- Stage Design: Hallucination Event Conti

1. The Appearance of the Night Queen: The Hallows of Gravity (Anti-Gravity Event)

- Visual: Along with the queen's fierce high notes, the geometric fragments that surrounded the stage behind her back are all bent at sharp angles, scattering light in all directions, just like a living creature. With the cartoonish production of the fragments being sucked into her mouth and then bouncing back explosively in all directions, the queen is portrayed as a 'space twist' itself, not a human being.

- Effect: The audience sees the stage setup act as a 'variable pixel' that responds in real time to the scenario and the character's emotions, not just a background, and transforms the abstract emotion of 'anger' into a visual and physical texture.

2. Cave of Trials: Spatial hallucinations (Non-Euclidean Labyrinth)

- Visual: Tamino walks towards the Cave of Trials. Every step he takes, the laser grid on the stage floor makes a bizarre move that stretches and contracts again like a rubber. Even if you walk in a straight line, it returns to its place, or non-Euclidean Labyrinth drawings with tens of thousands of exits with one entrance are created and extinguished in real time.

- Effect: Trials are defined not as physical pain, but as hallucinatory fear in which the 'spatial order' that the subject believes in collapses. Through Tamino's unstable gaze, the audience experiences the unstable position of the subject whose gaze is constantly readjusted.

3. Jarastro's Referee: Luminous Hallucination

- Visual: It depicts a scene where light flows through the floor like a liquid, wetting geometric figures, and then suddenly solidifying and breaking when powerful incandescent beams from the vanishing point of the stage touch visible structures. Visual tension reaches its peak at the boundary where the lines disappear to the vanishing point as if they were touching it.

- Effect: Truth is not a clear logic, but a 'transcendental hallucinatory dimming' that paralyzes the senses. The thin lines stretching beyond the frame transform the mathematical paradox, in which the subject's desire (M_desire) radiates infinitely beyond the physical limits, into visual catharsis.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-20

4단계: 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.

- 마술피리 무대 디자인 적용: 디지털 파놉티콘 인터페이스

1. 자라스트로의 감시망: 질서의 그리드 (The Grid of Order)

• 설계: 무대 바닥과 벽면에 투사되는 정교한 레이저 그리드는 단순한 장식이 아닌 디지털 감옥의 창살입니다.

• UI 메커니즘: 배우가 그리드 라인을 정확히 밟지 않거나 정해진 템포를 어길 경우, 그리드는 붉은색으로 점멸하며 배우의 위치를 추적하는 날카로운 가시형 구조물을 생성합니다.

• UX 효과: 관객은 절대적인 법(Big Other)의 엄격함을 시각적으로 목격하며, 질서가 주는 압박감을 공유합니다.

2. 밤의 여왕의 응시: 파편화된 눈 (The Fragmented Eyes)

• 설계: 무대 상부에 매달린 수천 개의 에어로 셸(Aero-Shell) 파편들이 개별적인 거울이자 렌즈 역할을 합니다.

• UI 메커니즘: 인물의 감정 수치가 급증하면, 파편들이 일제히 그 인물을 향해 각도를 꺾으며 반사광을 집중시킵니다. 이는 수천 개의 눈이 한 사람을 노려보는 듯한 '응시'의 물리적 구현입니다.

• UX 효과: 인물은 공간 전체로부터 비난받는 듯한 공포를 느끼며, 관객은 감시 체계 아래 놓인 주체의 취약성을 직감합니다.

3. 관객석 파놉티콘: 인터랙티브 하중 (Interactive Load)

• 설계: 객석의 소음과 움직임을 감지하는 센서 유닛을 무대 외곽 센서와 동기화합니다.

• UI 메커니즘: 관객이 동요하거나 시선이 분산되면, 무대 중앙의 보이드 코어(Void Core)가 팽창하며 불쾌한 저주파음을 내뱉습니다.

• UX 효과: 관객은 자신이 관람객일 뿐만 아니라 무대라는 시스템에 의해 감시당하고 통제받는 '디지털 수감자'임을 깨닫게 됩니다.

- 무대 디자인: 디지털 파놉티콘 인터페이스

1. 자라스트로의 감시망: 질서의 그리드 (The Grid of Order: [1])

- Visual: 황금비로 설계된 완벽한 신전 기둥들 사이, 무대 바닥과 벽면 전체에 정교한 레이저 그리드(디지털 감옥의 창살)가 투사됩니다. 타미노와 파미나가 그 위를 위태롭게 걷습니다. 그들이 그리드 라인을 정확히 밟지 않거나 정해진 템포를 어기자, 그리드가 순간적으로 붉은색으로 점멸하며 그들의 위치를 추적하는 날카로운 가시형 구조물을 실시간으로 생성합니다.

- Effect: 관객은 절대적인 법(Big Other)의 엄격함을 시각적으로 목격하며, 질서가 주는 압박감을 물리적으로 체감합니다.

2. 밤의 여왕의 응시: 파편화된 눈 (The Fragmented Eyes: [2])

- Visual: 무대 상부에 매달린 수천 개의 에어로 셸(Aero-Shell) 파편들이 개별적인 거울이자 렌즈 역할을 하며 여왕의 주변을 유령처럼 떠돕니다. 여왕의 고음과 함께, 파편들이 일제히 타미노를 향해 각도를 꺾으며 반사광을 집중시킵니다. 이는 수천 개의 눈이 한 사람을 노려보는 듯한 '응시'의 물리적 구현입니다.

- Effect: 관객은 수천 번 덧칠해진 갈망의 흔적들이 거대한 에너지의 하중이 되어 관객을 압박하는 것을 목격합니다. 관객은 감시 체계 아래 놓인 주체의 취약성을 직감하게 됩니다.

3. 관객석 파놉티콘: 인터랙티브 하중 (Interactive Load: [3])

- Visual: 무대 구석구석에서 뻗어 나온 가시형 구조물들이 0.1mm의 극한의 선으로 수렴하며 소실점으로 사라집니다. 객석의 소음과 움직임을 감지하는 센서 유닛이 무대 외곽 센서와 동기화됩니다. 관객이 동요하거나 시선이 분산되자, 무대 중앙의 보이드 코어(Void Core)가 팽창하며 불쾌한 저주파음을 내뱉습니다.

- Effect: 관객은 자신이 관람객일 뿐만 아니라 무대라는 시스템에 의해 감시당하고 통제받는 '디지털 수감자'임을 깨닫게 됩니다.

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.

- Magic Flute Stage Design Application: Digital Panopticon Interface

1. Jarastro's Watch: The Grid of Order

• Design: Elaborate laser grids projected onto stage floors and walls are not just decorations, they're digital prison bars.

• UI Mechanism: If an actor does not exactly step on the grid line or breaks a set tempo, the grid blinks red and creates a sharp visible structure that tracks the actor's position.

• UX Effect: Audiences visually witness the rigor of the absolute law, sharing the pressure of order.

2. The Fractured Eyes: The Fragmented Eyes

• Design: Thousands of Aero-Shell fragments suspended above the stage act as individual mirrors and lenses.

• UI Mechanism: When a person's emotional level increases rapidly, fragments point at the person at an angle and focus the reflected light. This is the physical embodiment of a "gaze" in which thousands of eyes appear to be staring at a person.

• UX Effect: The character feels the fear of being criticized from the entire space, and the audience feels the vulnerability of the subject under the surveillance system.

3. Spectator Panopticon: Interactive Load

• Design: synchronizes the sensor unit that detects noise and movement in the auditorium with the outside stage sensor.

• UI Mechanism: When the audience is agitated or distracted, the void core in the center of the stage expands and emits an unpleasant low-frequency sound.

• UX Effect: Audiences realize they are not only spectators, but also "digital inmates" who are monitored and controlled by a system called the stage.

- Stage Design: Digital Panopticon Interface

1. Jarastro's Watch: The Grid of Order: [1]

- Visual: A sophisticated laser grid (the bars of a digital prison) is projected throughout the stage floor and wall, among the perfect temple pillars designed with golden rain. Tamino and Pamina walk precariously over it. When they don't exactly step on the grid line or break a set tempo, the grid flashes red for a moment, creating a sharp visible structure that tracks their position.

- Effect: The audience visually witnesses the rigor of the absolute law, and physically feels the pressure of order.

2. The Queen's Eyes at Night: Fragmented Eyes (The Fragmented Eyes: [2])

- Visual: Thousands of Aero-Shell fragments hanging from the top of the stage act as individual mirrors and lenses, floating around the Queen like a ghost. With the Queen's high notes, the fragments focus their reflection by angling at the Tamino all at once. This is the physical embodiment of an eye that looks like thousands of eyes are staring at a person.

- Effect: The audience sees traces of longing painted thousands of times put under a huge load of energy and press the audience. The audience feels the vulnerability of the subject under the surveillance system.

3. Spectator Panopticon: Interactive Load (Interactive Load: [3])

- Visual: Visible structures extending from every corner of the stage converge to an extreme line of 0.1 mm and disappear into vanishing points. A sensor unit that detects noise and movement in the auditorium is synchronized with the outside stage sensor. When the audience is agitated or their eyes are distracted, the void core in the center of the stage expands and emits an unpleasant low-frequency sound.

- Effect: Audiences realize they are not only spectators, but also 'digital inmates' who are monitored and controlled by a system called the stage.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-21

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.

- 마술피리 무대 디자인 적용: 거울 단계 인터페이스

1. 전면 반사 셸: 이상적 자아의 거울 (Mirror of the Ideal-I)

• 설계: 무대 전체를 감싸는 에어로 셸(Aero-Shell) 파편들의 뒷면을 초고정밀 거울로 마감합니다.

• UI 메커니즘: 극의 최종장에 도달하면, 파편들이 일제히 뒤집히며 객석과 무대를 서로 비춥니다. AI는 관객의 표정을 학습하여 거울의 각도를 미세하게 조정, 관객이 가장 아름답고 위엄 있게 보이는 빛의 각도를 자동 생성합니다.

• UX 효과: 관객은 무대 위의 승리를 자신의 승리로 오인하며, 파편화되었던 자아가 하나의 빛나는 이미지로 통합되는 나르시시즘적 합일을 경험합니다.

2. 라이팅 싱크로나이즈: 감정의 오토메이션 튜닝

• 설계:보이드 코어(Void Core) 주변의 백열광 채도를 관객의 집단적 카타르시스 지수와 동기화합니다.

• UI 메커니즘: 관객의 감동이 최고조에 달할 때, 조명의 광택은 '타버릴 듯한 강렬함'에서 '부드럽고 신성한 진주빛'으로 변형됩니다. 이는 주체가 결핍을 극복하고 충만함에 도달했음을 알리는 심리적 보상 기제입니다.

• UX 효과: 무대의 빛은 이제 외부의 광원이 아니라 관객의 내면에서 뿜어져 나오는 빛처럼 느껴지며, 관객은 AI 무대 장치를 '또 다른 자아'로 인식하게 됩니다.

3. 액체 금속의 유동적 마감 (Liquid Narcissism)

• 설계: 무대 바닥과 가시형 구조물 표면에 자성 유체(Ferrofluid)를 코팅합니다.

• UI 메커니즘: 음악의 진동과 인물의 호흡에 반응하여 표면의 질감이 매끄러운 거울에서 거친 임파스토(Impasto)로, 다시 액체처럼 흐르는 광택으로 자동 전이됩니다.

• UX 효과: 고정된 형태 없이 끊임없이 변하는 무대의 물성은 주체의 유동적인 자아상을 완벽하게 대변하며, 나르시시즘적 결합력을 극대화합니다.

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'.

- Magic Flute Stage Design Application: Mirror Stage Interface

1. Front Reflective Shell: Mirror of the Ideal-I

• Design: Finish the back of the Aero-Shell fragments covering the entire stage with ultra-high precision mirrors.

• UI Mechanism: When the final chapter of the play is reached, the fragments flip over and illuminate the audience and the stage. The AI learns the audience's facial expressions and finely adjusts the angle of the mirror to automatically create the angle of light that makes the audience look the most beautiful and dignified.

• UX Effect: The audience misidentifies the victory on stage as their own, experiencing a narcissistic unity in which the fragmented self is integrated into one glowing image.

2. Lighting Synchronization: Automation Tuning of Emotions

• Design: Synchronizes the incandescent light saturation around the void core with the audience's collective catharsis index.

• UI Mechanism: When the audience's emotions reach their peak, the luster of the lighting changes from 'burnt intensity' to 'soft and sacred pearl color.' This is a psychological reward mechanism that signals that the subject has overcome deficiency and reached fullness.

• UX Effect: The light on the stage now feels like a light emanating from the audience's inner side, rather than an external light source, and the audience recognizes AI stage equipment as "another ego."

3. Liquid Narcissism (Liquid Narcissism) of Liquid Metal

• Design: Coates magnetic fluid (ferrofluid) on the floor of the stage and the surface of the visible structure.

• UI Mechanism: In response to the vibrations of the music and the breathing of the person, the texture of the surface automatically transitions from smooth mirrors to rough Impasto and back to liquid-flowing gloss.

• UX Effect: The constantly changing physical properties of the stage without a fixed form perfectly represent the subject's fluid self-image, maximizing narcissistic coupling.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-22

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.

- "마술피리" 무대 디자인 적용: 실재의 육화 계획

① 만화적 선의 공간적 현현: 가시형 조각 (Hard-edged Spine)

• 디자인: 소실점을 향해 뻗어 나가는 가시형 점근 구조가 2차원 만화의 집중선처럼 무대를 가로지릅니다. 이 선들은 조명이 아니라, 검게 산화된 티타늄으로 제작된 실제 조각물입니다.

• 기술적 구현: 로봇 팔이 정밀 용접한 이 구조물들은 공중에 부유하며, 관객이 어느 각도에서 보더라도 강렬한 '개념적 윤곽선'을 유지합니다.

• 비평적 의미: 주체의 욕망이 가진 날카로운 지향성이 물리적 실체로 육화되어 무대를 장악합니다.

② 추상적 질서의 물질화: 결정화된 그리드 (Crystallized Grid)

• 디자인: 자라스트로의 법을 상징하는 그리드가 바닥에 그려진 선이 아닌, 투명 아크릴과 광섬유가 결합된 결정체적 구조물로 솟아오릅니다.

• 기술적 구현: 3D 프린팅으로 제작된 투명 모듈들이 나선형으로 중첩되어, 빛이 내부에서 굴절되며 '이성의 무게'를 시각적 질량감으로 전달합니다.

• 비평적 의미: 보이지 않는 사회적 규범(대타자)이 도저히 피할 수 없는 거대한 벽으로서 실재화됩니다.

③ 실재의 핵: 보이드의 물질적 실감 (Materialized Void)

• 디자인: 보이드 코어(Void Core)의 입구가 단순히 비어 있는 것이 아니라, 주변의 공간을 일그러뜨리는 듯한 유선형의 초정밀 가공 금속판들로 에워싸여 있습니다.

• 기술적 구현: 항공 우주 공학 수준의 CNC 정밀 가공을 통해 금속 표면에 미세한 미분적 획들을 새겨 넣어, 빛이 닿을 때마다 공간이 실제로 뒤틀리는 듯한 물리적 착시를 완성합니다.

• 비평적 의미: '결핍'이라는 추상이 만질 수 있는 차가운 금속의 질감을 통해 관객의 감각 속에 '리얼'하게 박제됩니다.

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.

- "The Magic Flute" Stage Design Application: Visualized Incarnation of the Real

① Spatial manifestation of cartoon lines: Hard-edged Spine

• Design: A visible asymptotic structure stretching towards a vanishing point crosses the stage like a focused line from a 2D cartoon. These lines are not illuminated, but real sculptures made from black-oxidized titanium.

• Technical Implementation: These structures, precisely welded by robotic arms, float in the air and maintain an intense 'conceptual outline' from any angle of view by the audience.

• Critical Meaning: The sharp orientation of the subject's desire is cultivated into a physical entity and takes over the stage.

② Materialization of Abstract Order: Crystalized Grid

• Design: The grid symbolizing Zarastro's law rises not as a line drawn on the floor, but as a crystalline structure with a combination of transparent acrylic and fiber optics.

• Technical implementation: 3D printed transparent modules are spirally superimposed, with light refracting from the inside and transmitting 'Weight of Reason'' to visual mass.

• Critical meaning: Invisible social norms (substitute) become real as a huge wall that is inevitable.

③ Nucleus of Reality: Materialized Void

• Design: Void Core The opening is not just empty, it is surrounded by streamlined, ultra-precise metal sheets that seem to distort the surrounding space.

• Technical implementation: Aerospace engineering-level CNC precision processing embeds fine differential strokes on the metal surface to complete the physical illusion of space actually twisting every time light hits.

• Critical Meaning: the abstraction of "deficiency" is stuffed 'real' into the audience's senses through the touchable texture of cold metal.

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-23-기하학적 추상으로 해체된 악(惡)의 본질: 루이 최의 <마술피리> 무대미술

기하학적 추상으로 해체된 음악(惡)의 본질: 루이의 "마법의 피리" 무대 디자인

루이가 자신의 서사적인 밤을 기하학적 추상 구조로 정리하고 개념적인 밤을 입는 '마법피리'의 무대 예술은 더 이상 전통적인 천상 세계나 밤의 여왕을 상징하는 동양의 신비주의가 아닙니다. 그는 밤의 여왕의 권력을 삼각형이라는 가장 원시적이고 날카로운 기하학적 단위로 대체하여 악의 본질을 시각적 서사가 아닌 개념적 구조로 재정의했습니다. 무대를 가득 채운 검은 피라미드는 최철주의 '욕망개념화' 이론에서 언급된 보이지 않는 위협의 시각화를 완벽하게 수행합니다. 이는 관객들이 밤의 여왕을 하나의 인물이 아닌 '구조적 폭력' 그 자체로 인식하게 하여 타미노의 이성을 압박합니다.

가변적인 미로와 심리적 불확실성을 만들어내는 최철주는 현대 무대미술에서 '움직이는 조각'은 단순한 배경 변화를 넘어 관객의 심리를 지배하는 '활동적인 대상'이 되어야 한다고 주장합니다. 루이의 무대 장치는 이처럼 중요한 방향에 도달합니다. 삼각형 조각이 톱니 모양이 되어 늑대 이빨이나 뱀으로 변하는 운동 메커니즘은 밤의 여왕 아리아의 음악적 광기를 물리적 공간의 왜곡으로 해석합니다. 여기서 기하학은 정적인 질서가 아니라 언제든 관객과 주인공을 집어삼킬 수 있는 '살아있는 혼돈'으로 작용합니다.

가역적인 빛과 그림자의 이원론적 개념 구조는 깨달음과 억압을 시각적으로 대비시킵니다.

무대미술 평론가 최철주의 관점에서 볼 때 이 무대의 하이라이트는 아크릴과 탄소 섬유 소재의 조명 효과입니다. 루이는 조명을 통해 삼각형의 날카로운 가장자리만 강조합니다. 그는 어둠을 단순히 빛의 부재가 아니라 이성을 굴절시키는 날카로운 칼날로 묘사합니다. 밤에 여왕의 분노가 붉고 보라색으로 번쩍이면 무대는 지옥의 표현이 아닌 순수한 분노의 추상화가 됩니다. 이는 연극 후반부에 이성이 승리하면 동상은 사라지지 않고 "다시 녹는다"는 방향을 통해 질서 뒤로 후퇴할 뿐이라는 현대적 허무주의를 내포하고 있습니다.

따라서 루이의 '마법의 피리'는 무대 예술이 오페라 장식부터 철학적 텍스트까지 음악을 지탱하는 장식이 아니라 오페라라는 철학적 주제를 그 자체로 관통하는 '공간 텍스트'가 될 수 있음을 증명합니다. 날카로운 삼각형의 모음으로 표현된 '밤의 여왕'은 모차르트가 계몽의 시대를 위협하는 현대적 불안과 독창적 광기를 가장 우아하고 잔인하게 구현한 결과물입니다. 이 작품은 단순한 무대 디자인에서 벗어나 오페라의 고전적 형태를 차용해 현대 개념미술이 수행하는 공간 해체 작업입니다../ 글. 현대 무대미술평론가 최철주 (무대디자이너 & 문화디자인박사)

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Stage Design User Interface Image》-24

The essence of music (惡) dismantled by geometric abstraction: Louis' "Magic Flute" stage design

The stage art of "The Magic Flute," in which Louis organizes his epic night into a geometric abstract structure and wears a conceptual night, is no longer the traditional celestial world or Eastern mysticism that symbolizes the queen of the night. He replaced the power of the queen of the night with the most primitive and sharp geometric units called triangles, redefining the essence of evil as a conceptual structure rather than a visual narrative. The black pyramid that fills the stage perfectly performs the visualization of the invisible threat mentioned in Choi's "conceptualization of desire" theory. This pressures Tamino's reason by making the audience perceive the queen of the night as "structural violence" itself rather than a figure.

Choi Chul-joo, who creates a variable maze and psychological uncertainty, argues that in modern stage art, 'moving sculptures' should go beyond simple background changes and become 'active objects' that dominate the audience's psychology. Louis' stage equipment reaches such an important direction. The kinetic mechanism by which triangular sculptures become serrated and turn into wolf teeth or snakes interprets the musical madness of Aria, the queen of the night, as distortion of physical space. Here, geometry acts not as a static order but as 'living chaos' that can devour the audience and the protagonist at any time.

The dualistic conceptual structure of reversible light and shadow makes a visual contrast between enlightenment and oppression.

From the viewpoint of stage art critic Choi Chul-joo, the highlight of this stage is the lighting effect of acrylic and carbon fiber materials. Through lighting, Louis emphasizes only the sharp edges of the triangle. He describes darkness not simply as the absence of light but as a sharp blade that refracts reason. When the queen's anger flashes red and purple at night, the stage becomes an abstraction of pure anger, not a representation of hell. This implies the modern nihilism that if reason wins in the latter half of the play, the statue will not disappear but only retreat behind order through the direction of "melting back."

Therefore, Louis' "Magic Flute" proves that stage art can be not a decoration that supports music from opera decoration to philosophical text, but a "space text" that penetrates the philosophical theme of opera in itself. The "Queen of the Night," expressed as a collection of sharp triangles, is the result of Mozart's most elegant and cruel embodiment of modern anxiety and original madness that threaten the era of enlightenment. This work is a space dismantling work performed by modern conceptual art, borrowing from the classical form of opera, away from simple stage design./ 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《Stage Design User Interface Image》-25

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《Stage Design User Interface Image》-26

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《Stage Design User Interface Image》-27

Conceptual Abstractionism AAS Stage Design Methodology

1. Concept Abstractionism The AAS 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《Stage Design User Interface Image》-28

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

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

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

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, Desire Structure Background Image Philosophical Proposition

This system of visual desire effectively maps the internal logic of "seeing" what we are not, transforming philosophical propositions into visceral and aesthetic experiences.

• Morning glory: a metaphor for a desire that is never "complete" but always consists of linguistic absence.

• Reversible Shades of Light: Represents the cognitive process by which the mind transforms the temporal layers to construct reality.

• Pond: a cognitive "mirror stage" in which the subject recognizes himself through the reflected desires of the outside world (other) rather than his body.

■ 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. Philosophical interpretation of the meanings of the ingredients

- A rupture that occurs when emotions move on coordinates due to spatial movement of emotions

- The Intensity of Desire, the Inner Deficiency of the Subject and the Energy of Impulses. the sound of the moment emotions break through mechanical structures with the bursting sound of desire

This desire formula "Dsound \propto \sqrt (Delta x)^2 + (Delta y)^2 \cdot Vdesire" mathematically models the image of the rupture sound that occurs when the change in the position of the emotion and the intensity of the desire are combined.

Choi Chul-joo Desire The linguistic and acoustical dynamics of desire applied to the formula Choi Chul-joo's desire D(I...I')d=I(D...D')i Design methodology process with Dsound propo sqrt (Delta x)^2 + (Delta y)^2cdot Vdesire) Design methodology process This methodology process is a mathematical and aesthetic manifestation of the declaration, "I am both an error in the system and a living data creature 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.

3. 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.

■ 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).

■ The Visualization Formula for Desire "M_desire = ∑∅∂ / (1 - ∂)" is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically. The formula combines Lacan's theory of desire with conceptual abstract aesthetics, visualizing human's inner deprivation and repetitive urges in mechanical language. As a new sign of desire, the visualization of deficiency desire visualizes the meaning of language as a realist image through a visualization formula of deficiency desire. This is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically with the visualization formula of deficiency desire "M_desire = ∑∅∂ / (1 - ∂)." This formula combines Louis Choi's theory of desire with conceptual abstract aesthetics, visualizing the human's inner deficiency and repetitive impulse with a realist image.

- Philosophical Interpretation: Louis Choi's the Structure of Desire "M_desire = ∑∅∂ / (1 - ∂)"

• ∅ (blank, deficiency): symbolizes Lacan's 'the real', and the source of human desire comes from an unfulfilled deficiency.

• ∂ (partial differential symbol): represents a minute rate of change in desire. It is a mathematical expression of the process by which the subject constantly readjusts desire in relation to the other.

• ∑ (combination symbol): sum of repeated desires. This is linked to Lacan's 'repetitive impulse', in which the subject repeatedly pursues the same deficiency in various ways.

• (1 - ∂): Resistance or unattainability of desire. The smaller the denominator, the larger the overall value, which expresses a paradox that the more desire is satisfied, the greater the deficiency.

- Artistic Aesthetic Interpretation: An Aesthetics of Concept Abstraction and Error

• Desire Sound and Aesthetics of Error: an aesthetic that replaces human emotions and deficiencies with mechanical errors. This formula interprets minute deviations in perfect mechanical structures as human emotions.

• Ghost Screen Projection Image: This formula is projected onto a stage front OLED, giving the audience a visual experience of the mathematical structure of desire.

• Clock mechanism and repetition of desire: the repetitive rotation of the stage equipment symbolizes the circular structure of desire, and the ∑∅∂ operates as the power of that rotation.

- Mathematical interpretation: Abstract structure and nonlinearity

• Non-linear structure: this formula expresses non-linear desires that are amplified by resistance and deficiency, not linear desires.

• Mathematical Platonism: This formula is linked to the view that mathematical objects exist as a reality independent of human perception, and the desire itself is regarded as an 'idea'.

- a mechanical visualization of human desire

"M_desire = ∑∅∂ / (1 - ∂)" is not just an expression, but an integrated expression of Lacan's theory of desire, conceptual abstract aesthetics, and mathematical philosophy. This formula visualizes the intersection of human emotions and mechanical structures on an automata stage, through which the audience witnesses the emotional truth of the digital age.

■ Louis Choi's Desire Formula: "M_desire = ∑∅∂ / (1 - ∂)"

M_desire = ∑∅∂ / (1 - ∂) is an outstanding formula that replaces Louis Choi's artistic philosophical insights with mathematical precision, forming a semiotic structure of dynamics between subject, other, and The Real. This formula contains mathematical validity and semiotic philosophy.

1. Molecules (∑∅∂): Differentiation and Repetitive Dynamics of Deficiency

Molecules define the 'motivation' in which desire occurs and its 'how to express it'.

• The Real & Defiance of the episet:

• In mathematics, vacancy means element-free, but it is a powerful being that underlies set theory. Louis Choi replaced it with "reality." Reality is a fundamental deficiency that is not included in the symbolic world (language), an engine that forever powers desire. Semiotics represent the "abyss of a period beyond which symbols cannot reach" and become the molecular starting point for all desires.

• Mathematical logic of partial differentials:

• A part measures the rate of change of a particular variable (here the variable 'other') in a multivariate function. The subject's needs are constantly readjusted to a relationship with the other, not a fixed one. Seeing desire as a differentiable function rather than a constant has the mathematical legality of proving that human psychology is a "continuum of micro-change" that responds to the gaze and environment of others.

• Structural interpretation of consensus (aggregate):

• Sigma integrates individual pieces of desire. Lacan's "Repeated Obsession" and Louis Choi's "Repeated Obsession" are the processes by which objects of desire change and constantly try to make up for the same deficiency. Molecules eventually quantify "the process by which microscopic pieces of desire that are distinct from each other repeatedly pile up."

2. Denominator (1 - ∂): The explosive paradox of marginal convergence and desire

The overwhelming power of this formula lies in the construction of the denominator. It applies the principles of mathematical limitations to human psychology.

• Resistance and Unreachability:

• The fact that the part is close to 1 means that the need is either fully satisfied or trying to integrate with others. But in the formula, the denominator approaches zero when the part converges to 1.

• Explosion of Desire (M_desire to infty):

• As the denominator approaches zero, the overall value, M_desire, diverges to infinity. This mathematically explains the psychological law of physics, which states, "As the desire gets closer (the denominator gets smaller), the pain of deficiency and the magnitude of desire are paradoxically amplified to infinity."

• lim {partial to 1} frac{sum vemptysset partial}{1 - partial} = infty

• The formula mathematically formulates the humanities tragedy that desire can never be "completed" and that the subject feels the greatest thirst on the threshold of completion.

3. modern semiotic aesthetics

As a powerful tool to explain unfinished aesthetics or 'present absence' in modern aesthetics, humans are assumed to be a semiotic subject made up of deficiency rather than a 'satisfying biological being', and it is a sculpture interpreted as an existential mathematical formula that "we exist because we are deficient, and we constantly move forward because we cannot reach."

• Semiotic legality: By visualizing the slip that occurs when a linguistic signifier tries to fill the void of reality as a partial, it logically supports why a work of art has to be constantly reinterpreted.

• Social feasibility: In the modern consumer society, it accurately diagnoses the alienation of modern people who constantly consume goods by internalizing the desires of others, but never reach satisfaction and fall into infinite deprivation.

• Mathematical perspective: transforming the dynamics of human psychology into a dynamic model rather than a static model through the nature of divergent series.

• Humanities Perspective: Emptyset emphasizes that it is not destructive, but rather a creative source that makes the subject act (sum) and relate to others (partial).

■ Louis Choi's Desire "M_desire = ∑∅∂ / (1 - ∂)" Structural Abstraction Design Process

- Step 1: Positioning of emptyset

"Every being begins with an empty center."

• Perform: After the whole canvas is painted, leave the bare ground at the most visually loaded point (mainly the center or golden split point) or mark the 'nucleus of the member' with the deepest black (such as Vantablack).

• Intention: This emptyset is the engine of desire. It's the step of setting up the 'gravity of deficiency' that makes all the formations around you rush to fill this void.

• Tip: Leave it in the form of irregular cracks rather than perfect circles, giving The Real a tension that seems to break through the symbolic world (picture).

- Step 2: Differentiation of partial

"The gaze is disconnected, and readjusted through the batter."

• Perform: Draw fine, sharp strokes that surround the center of the void. In this case, short, broken lines are placed in pieces as if they were differentiated without drawing long lines at once.

• Intent: partial is the process of constantly modifying one's gaze in relation to another. Uncorrected rough texture (Impasto) or overlapping layers makes the viewer's gaze unable to stay in one place and float.

• Tip: Use colors with strong complementary contrast (e.g., fluorescent light green and red in the image) to induce visual collisions.

- Step 3: Repetitive Rhythm Proliferation (Summation of Sum)

"Unmet desires flow in patterns."

• Perform: Repeat the differential strokes made in step 2, extending into a spiral or concentric structure with constant regularity.

• Intent: sum is a repetitive compulsion. It expresses the mobility of a subject who repeats similar actions to make up for the same emptyset. Each module looks alike, but should never be the same. Through repetitions that are gradually transformed, the screen captures 'the passage of time' and 'the accumulation of energy'.

• Tip: Intentionally creating mechanical repeatability by mixing stencil techniques or engraving elements will better reveal Louisi-style "data desires."

- Step 4: Completion of asymptotic divergence (Asymptotic Limit of 1 - partial)

"As we get closer to completion, the painting opens up infinitely."

• Perform: Extremely increase the detail at the end of the entry into the center emptyset or extending outwards. Create points where the lines are thin enough to converge to zero, or where the color becomes intense as if it were burning.

• Intent: Visualize mathematical paradoxes in which the sum of desires ($M$) radiates infinitely as the denominator (1-partial) approaches zero.

• Tip: Use a thin visible structure converging towards a vanishing point or a dripping technique that looks like a color splashing over the canvas to finish by suggesting that the picture is not trapped in the frame but is expanding indefinitely.

- Final Step: A Formation Checklist (Critic's Eye)

1. Do I feel a void (∅) : I should still feel hungry as if something is empty even though I've filled the screen.

2. Is the gaze (∂) distracted : The eye of the viewer is not fixed in one place and has to move constantly along the differentiated pieces.

3. Is there a load of repetition (∑) : The persistent longing of the subject should be felt as a thickness in the layered layers.

4. Is there a tension of divergence (1 - ∂) : The tension of the asymptote that is almost touching should dominate the entire screen.

■ Applying the Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)" to UX/UI design

It is a design process that identifies the user's inner desires and maximizes and satisfies them through an interface. It goes beyond just a visually beautiful UI, and it is a behavioral psychology approach that induces the user's behavior and creates lasting reliability.

1. UX/UI Interpretation of Desire Structure Formula Components

• M_desire (total amount of desire): The end goal and emotional satisfaction that the user wants to reach through the product/service.

• ∑ (sum/repeat): a UX flow that designs the user's behavior to be repeated as a positive experience.

• ∅ (deficient/target): Identify the user's current discomfort (Pain Point) or Need and present it as a solution in the UI.

• ∂ (interaction/intensity): frequency and intensity of user interaction with app/web. Maximize through interaction design (micro-interaction, animation).

• (1 - ∂) (resistance/departure): A structure that minimizes friction and churn rates that the user experiences to reach the target.

2. Desire Formula-Based UX/UI Design Application Steps

• Detection of deficiency (∅) (UX Research):

1- Identify what users want and what inconveniences they experience.

Intuitively configure Information Structure (IA) in 2-UI to instantly guide you to where deficiencies can be resolved.

•Design of interaction (∂) (UI interaction):

Provides fun and feedback through detailed interactions (micro-interactions) such as 1-click button, swipe, and conversion effect.

2-Design to focus on the elements you want by leveraging visual contrast and a clear hierarchy.

•Minimize resistance (1 - ∂) (optimize usability):

1-Reduce complex subscription procedures, loading speeds, and ambiguous menus to smooth the process for users to reach their goals.

Apply a 2-consistent design token to reduce cognitive load.

• Creation of iterations (∑) (sustainable experience):

1-Provide push notifications, reward systems, and customized content (personalization) for users who have learned positive experiences to revisit.

3. Application of components of Louis Choi Desired Structural Formula

The Desire Structure Formula is a concept proposed by UI/UX designer Louis Choi, which is a framework that visualizes a user's desire into data and structure and reflects it in the design. The formula aims not only to have a pretty design, but to design 'psychological motivations' that make users perform certain actions. Each symbol in this Desire Structure Formula stands for the core psychological element of UX design.

Components of the 1-Desire Structural Formula

• ∑ (Total): The sum of all the positive values the user feels in the service.

• ∅ (deficiency/absence): The user is experiencing any inconvenience or deficiency. Design should address this deficiency.

• ∂ (change/variable): A change in the user's situation or environment. It means that the size of desire varies depending on the trend or the user's context.

• 1 - ∂ (resistance): The cost and psychological reluctance of adapting to new services or changing existing habits.

2-UX/UI Design Application Strategy

Applying the Desire Formula to the actual design process, it can be embodied in the following steps.

① Discovery of deficiency (∅):pane point definition

• The user melds the answer to "Why should I use this service?" into the design.

• UI application: deployment of hero images or phrases that allow users to intuitively recognize deficiencies

• Apply UX: Design the fastest path to troubleshooting

② Maximizing Value (∑): reward scheme design

• Visually highlights the benefits a user gains from completing a particular action.

• UI application: Provides visual feedback such as success message, badge assignment, mileage accruals, etc

• UX Application: Introduce gamification elements to drive continuous immersion

③ Minimize resistance (1 - ∂)): usability improvement

• The total desire (M) increases by reducing the 'resistance', which corresponds to the denominator of the formula.

• UI Application: Simplifies complex forms and optimizes click range to eliminate physical resistance

• UX Application: Apply Progressive Disclosure Principles to Don't Give Too Much Information Early

■ Louis Choi's Desire Formula (M_desire = ∑∅∂ / (1 - ∂) applied design process is a psychology-based design process that identifies the user's inherent deficiencies in user interface (UI) and user experience (UX) designs, and converts them into desires through interface interactions to maximize final satisfaction.

This formula interprets human desire from a mathematical, philosophical, and artistic perspective based on Louis Choi's theory of desire, and applies to creating action induction and lasting satisfaction beyond just a visually beautiful UI.

1. UX Design Application by Element of Desire Formulation (Definition) Design Process: Each symbol is mapped to a key element of the UX design process, enabling a behavioral psychological approach.

• ∑ (sum/repeat) - UX Flow: This is a stage in which the user's positive experience is designed to be repeated. It is an interaction structure that increases the rate of revisiting after purchase, notification of benefits, and customized content.

• ∅ (deficient/target) - UX Research/Pain Point: This is the user's discomfort (Pain Point) or Need. The information structure (IA) of the UI clearly presents the ability to detect deficiencies and address them through user interviews and data analysis.

• ∂ (Interaction/intensity) - Interaction Design: The frequency and intensity of users' interactions with apps/webs. It is designed to focus on the functions the user wants through micro-interaction, sophisticated animation, action-inducing buttons, etc. to increase the intensity of satisfying the desire.

• 1 - ∂ (resistance/departure) - Usability: A structure that minimizes friction and churn to reach the goal. Smooth the process of reaching the goal by removing complicated procedures, slow speeds, and ambiguous menus.

2. Desirability Formation Application UX Design: From the perspective of "conceptual abstract reality," which approaches the meaning of design through desire theory in visual art, it is defined as a modern design methodology that converts a user's unconscious deficiencies into visible UI interactions. It designs "Desirability," which goes beyond simply "Utility," which resolves discomfort, as "a process of accurately hitting a user's deficiencies (∅), a process of maximizing expectations for rewards (∂), and a process of removing friction in the process of maintaining a continuous desire (1 - ∂).

• Visualization of deficiency: Visualize the user's pane point (∅) as an intuitive design element to instantly recognize the solution.

• Satisfaction with Interaction: Fine-grained interaction (∂) enables the user's behavior to return to immediate positive feedback, increasing satisfaction.

• Repeated positive experiences: Create user loyalty by leveraging recurring impulses (∑) to continuously induce positive behavior.