개념추상 미래 디자인, 개념 미디어 아티스트 [3] Conceptual Media Artist Louis Choi Chul-joo (M

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개념추상 미래 디자인, 개념 미디어 아티스트 [3] Conceptual Media Artist Louis Choi Chul-joo (Master of Product Design and Doctor of Culture Design) / 욕망 엔지니어로서 제품 디자이너 루이 최철주는 '욕망 공식'을 직접 반영하여 물리적 예술 구조를 설계하고, 사건 이미지의 추상적 개념의 미적 미디어 구조를 현대 개념 예술로 확장하여 최첨단 미디어와 지능형 AI 로봇 기술을 욕망 공식의 철학적 개념으로 시각화하는 개념 미디어 아티스트입니다. As a Desire Engineer, product designer Louis Choi Chul-joo is a conceptual media artist who designs the physical art structure by directly reflecting the "desire formula" and expands the aesthetic media structure of abstract concepts of event images to modern conceptual art to visualize state-of-the-art media and intelligent AI robot technology as philosophical concepts of desire formula. 팝아트 AAS (Abstract Application Sketch) 개념추상 미래 디자이너 루이 최철주의 욕망개념 추상 디자인 욕망 공식 적용 미래 디자인: 현대 개념추상 리얼리즘 미래 디자인 아티스트 최철주는 타인의 욕망 예술에 대한 추상적 개념적 접근과 미래의 제품디자인 형식 및 언어적 추상 이미지를 결합합니다. 그의 욕망 개념, 즉 개념 추상 미술이 등장하고 형이상학적, 철학적 빛에서 강조되는 언어적 의미 개념과 충돌하는 미래 제품 이미지에 인공 조명과 함께 미래의 제품디자인 이미지를 연출합니다. 새로운 욕망의 기표로서 결핍 욕망의 미래 디자인 시각화는 결핍 욕망의 시각화 공식을 통해 언어 의미를 리얼리즘 이미지로 시각화합니다. 이것은 결핍 욕망의 시각화 공식으로 인간 욕망의 구조를 수학적·철학적·예술적으로 해석하려는 시도입니다. 이 공식은 최철주의 욕망 이론과 개념 추상 미학을 결합하여, 인간 내면의 결핍과 반복 충동을 기계적 언어 의미를 리얼리즘 미래 이미지로 시각화합니다. Contemporary Concept Abstract Realism Future design artist Choi Chul-joo combines an abstract conceptual approach to the art of the desires of others with future product design forms and linguistic abstract images. His concept of desire, that is, conceptual abstract art, appears and creates future product design images with artificial lighting on future product images that conflict with the concept of linguistic meaning emphasized in metaphysical and philosophical light. As a new sign of desire, the future design visualization of deficiency desire visualizes language meaning 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 "M_desire = ∑∅∂ / (1 - ∂)." This formula combines Choi's theory of desire with conceptual abstract aesthetics, visualizing human inner deficiencies and repetitive impulses as realist future images. / 현대 개념 추상 제품디자인 신작 읽기 - 현대 개념 팝아트 디자이너와 현대 개념 추상 제품 디자인 미학 비평가 최철주 제품 디자이너는 시각 예술 이론을 통해 미적 가치 디자인의 예술성을 검토하고, 추상적 욕망 개념과 언어적 의미 구조를 반영하여 인식과 미적 구조를 해석함으로써 추상적 욕망의 언어적 의미와 동일한 실제 제품 이미지를 디자인하는 현대 개념 추상 미술 제품 디자이너입니다. 개념추상 미래 디자이너 최철주는 인공지능(AI) 자동화 시대에 단순한 형태 지각을 넘어, 인간의 욕망과 언어적 개념을 시각적·공간적 예술성으로 변환한다. 이는 최철주 추상예술이론을 통해서 AI가 완벽한 대칭적인 규격화된 조형성을 제시할 때 타자의 욕망 구조와의 비대칭성을 은페한 욕망적 결핍에서 공간적 빈틈을 만들어내는 창조적인 디자인의 역할을 한다. Modern Concept Abstract Product Design Reading New Works - Contemporary Concept Pop Art Designer and Contemporary Conceptual Abstract Product Design Aesthetic Critique by Choi Chul-joo Product Designer Choi Chul-joo is a Contemporary Concept Abstract Art Product Designer who examines the artistry of aesthetic value design through visual art theory and designs actual product images identical to the linguistic meaning of abstract desires by interpreting perceptions and aesthetic structures by reflecting abstract desire concepts and linguistic semantic structures through "morning glory" works. Concept Abstract Future Designer Choi Chul-joo goes beyond simple form perception in the era of artificial intelligence (AI) automation and transforms human desires and linguistic concepts into visual and spatial artistry. This serves as a creative design that creates a spatial gap from the desire deficit that eases the asymmetry with the other's desire structure when AI presents perfect symmetrical standardized formability through Choi Chul-joo's abstract art theory. / 현대미술평론가 루이 최철주는 사진 만화 미술 공예 디자인의 미적 가치 과정의 예술성을 검증하고 시각 예술 이론을 통해 작품의 의미에 접근하는 현대미술 개념 디자인 비평가다. 초기 개념미술의 언어적, 철학적 접근 방식을 현대 회화로 변형하여 욕망의 구조를 조형적 이미지로 전환한 최철주. 현대 개념 추상의 정의인 타인의 욕망을 추상적 개념으로 시각화하여 타인의 욕망을 언어적 표현으로 해석하고 작품의 숨겨진 욕망을 현대 회화 언어의 사실주의 이미지로 추상미술의 새로운 개념적 방향으로 읽어냅니다. Contemporary art critic Louis Choi Chul-joo is a contemporary art concept design critic who verifies the artistry of the aesthetic value process of photographic cartoon art and craft design and approaches the meaning of the work through visual art theory. Choi Chul-joo, who transformed the linguistic and philosophical approach of early conceptual art into modern painting, transforming the structure of desire into a formative image. By visualizing the desires of others, the definition of modern conceptual abstraction, the desires of others are interpreted as verbal expressions, and the hidden desires of the works are read in a new conceptual direction of abstract art as realist images of modern painting language.

디자인 언어 구조란 추상적 욕망의 미래 제품 이미지가 욕망 개념의 언어적 의미 구조인 것처럼 여겨지는 미래 시선의 현실상이다. 미래 디자인평론가 최철주는 현대미술비평과 함께 욕망추상 미래 디자인이라는 개념으로 현대미술과 미래 디자인 비평의 미적 가치, 프로세스, 예술성에 접근하고 있다. 그의 비평은 사진, 만화, 미술, 디자인의 예술성이 언어적 문법 구조로 작품의 의미에 접근해 욕망 개념의 현실을 비판하는 시각예술 이론을 가리킨다, 시각예술을 통한 현대 개념의 추상적 욕망을 언어적 의미로서 미래 디자인을 시각화한다. 이처럼 사진, 만화, 미술, 디자인의 미적 가치, 과정, 예술성을 검증하고 최철주 추상예술이론으로 미래 디자인 작품의 의미에 접근하는 동시대 미래 디자인평론을 한다. Design language structure is a reality of future gaze in which the future product image of abstract desire is considered to be the linguistic semantic structure of the concept of desire. Future design critic Choi Chul-joo is approaching the aesthetic value, process, and artistry of contemporary art and future design criticism under the concept of abstract desire future design along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of a work with a linguistic grammar structure and criticizes the reality of the concept of desire. It visualizes future design as a linguistic meaning of abstract desire of contemporary concepts through visual art. In this way, he examines the aesthetic value, process, and artistry of photography, cartoons, art, and design, and conducts a contemporary future design criticism that approaches the meaning of future design works with Choi Chul-joo's abstract art theory.

2030 자동차 디자이너 욕망 구조 공식"M_desire = ∑∅∂ / (1 - ∂)"UX/UI 디자인 적용

2030 Automotive designer Desire Structure Formula "M_desire = ∑∅∂ / (1 - ∂)" applied to UX/UI design; UX/UI interpretation of Desire Structure Formula components; UX/UI design based on Desire Formula; Louis Choi Desire Structure Formula components applied

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[루이 최철주의 "욕망 공식 M_desire = ∑∅∂ / (1 - ∂)" 적용 미래 자동차 디자인 프로세스]

1. 물리학적 접근: 욕망의 역학 디자인 (Dynamics of Desire)은 감정적 결핍을 욕망 공식의 분자인 sum emptyset partial로 상정하여 관객과 배우 사이의 시선 데이터를 벡터화하고, 시스템적 필연성을 의미하는 분모 1 - partial을 임계값으로 설정함으로써 무대 공간 내에서 욕망의 강도가 물리적인 에너지 총합으로 치환되는 역학 모델을 구축합니다.

• 결핍의 벡터화: 욕망 공식의 분자(sum emptyset partial)를 관객과 배우 사이에서 발생하는 '시선과 결핍의 에너지 총합'으로 정의합니다.

• 불안의 물리량 산출: 타자의 실존적 불안을 Delta(x,y)라는 물리량으로 치환하여, 이 값이 증폭될 때 무대의 중력장이 왜곡되는 시뮬레이션을 수행합니다.

• 시스템 필연성의 제어: 공식의 분모(1 - partial)를 기계적 필연성(Vsys)이 개입하는 임계값으로 설정하여, 욕망이 무한대로 발산하지 않고 공간 내에서 안정적인 구조적 파동을 이루도록 제어합니다.

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[Future car design process with Louis Choi Chul-joo's "Official Desire M_desire = ∑∅∂ / (1 - ∂)"]

1. Physical Approach: Dynamics of Desire assumes emotional deprivation as a molecule of desire formula, sumptyset partial, vectorizing gaze data between the audience and actors, and setting the denominator 1-partial, which means systemic inevitability, as a threshold to build a dynamic model in which the intensity of desire within the stage space is replaced by the sum of physical energy.

• Vectorization of Deficiency: The numerator of the Desire Formula is defined as the 'sum of gaze and energy of deficiency' that occurs between the audience and the actor.

• Calculating the physical quantities of anxiety: Replacing the other's existential anxiety with a physical quantity called Delta(x,y), we perform simulations in which the gravitational field of the stage is distorted when this value is amplified.

• Control of system inevitability: Setting the denominator of the formula (1 - partial) as a threshold involving mechanical inevitability (Vsys), controls desire to produce stable structural waves within space without diverging to infinity.

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2. 미래 자동차의 건축적 접근: 유동적 보이드(Fluid Void) 구현은 앞선 역학 모델을 바탕으로 고정된 객석 구조에서 탈피하여 관객의 시선과 욕망에 반응하여 물리적으로 수축하고 팽창하는 '유동적 보이드(Fluid Void)'를 외형 평면으로 디자인하고, 자동치 벽면을 인간의 감정을 수치화된 데이터로 변환하는 기호학적 인터페이스로 정의하여 5개의 기능적 레이어가 샌드위치 구조로 결합된 지능형 공간을 구현합니다.

• 가변적 공간 공학: 고정된 자동차 구조를 탈피하고, 사용자의 시선(partial)과 욕망(sum)에 반응하여 수축하고 팽창하는 '유동적 보이드'를 평면 구성의 핵심으로 삼습니다.

• 기호학적 인터페이스 설치: 자동차 벽면을 단순한 배경이 아닌, 인간의 감정을 수치화된 데이터로 변환하고 시각화하는 지능형 LED 및 기하학적 레이어 샌드위치 구조로 설계합니다.

• 수직 조립 단면도: 외부 케이스 내부에 5개의 기능적 레이어를 샌드위치 구조로 배치하여, 시선이 도달하는 깊이에 따라 데이터가 실시간으로 재구성되는 층위적 자동차 공간을 구축합니다.

2. The architectural approach of future cars: Fluid Void implementation creates an intelligent space in which five functional layers are combined into sandwich structures by designing Fluid Void as an external plane that physically contracts and expands in response to the audience's gaze and desires, breaking away from the fixed auditorium structure based on the previous mechanical model.

• Variable spatial engineering: A 'fluid void' that contracts and expands in response to the user's partial and desire, breaking away from a fixed automotive structure, is the core of the planar configuration.

• Semiotic Interface Installation: Design car walls with intelligent LED and geometric layer sandwich structures that convert and visualize human emotions into numerical data rather than just backgrounds.

• Vertical assembly cross-sectional view: Sandwich structure with five functional layers inside the outer case to create a layered car space where data is reconstructed in real time according to the depth at which the gaze reaches.

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3. 개념 미디어로서 예술적 미래 자동차 접근: 데이터-데컨스트럭티드(Deconstructed) 미학 구성은 최종적으로 고전 서사를 기계적 미학으로 재해석하여 타미노의 실존적 불안을 LED 그리드 위의 붉은색 기하학적 파편으로 전이시키고, 타미노가 자신의 계산 능력을 파괴하며 발생하는 시스템적 '오류'를 자동차 공간 전체가 데이터의 파편으로 흩어지는 시각적 구조로 설계함으로써, 디자인이 단순한 장식이 아닌 인간 욕망의 경로를 설계하는 정밀한 공학임을 물리적 실재로 증명합니다.

• 기계적 숭고미의 미학: 셰익스피어나 베토벤의 고전을 '기계적 미학'으로 재해석하여, 서사를 데이터의 파편(geometric fragments)으로 해체한 뒤 장치 이미지의 자동차로 전이시킵니다.

• 자동화된 감정 프로세스: '움직이는 사랑의 인형 시계(Automata Love Clock)'와 같은 정밀한 센서 배열을 통해, 자동차의 기능을 감정적 연기하는 수학적 파동과 텍스트의 파편으로 실시간 출력합니다.

• 이율배반의 미적 완성: 최종적으로 타미노가 자신의 계산 능력을 일부 파괴하여 시스템의 예측을 벗어나는 '오류(Error)'를 발생시키는 순간을, 자동차 공간 전체가 데이터의 파편으로 흩어지는 극적인 조형적 시각 구조로 건축합니다.

3. Artistic Future Car Access as Conceptual Media: Data-Decided Aesthetic Composition ultimately reinterprets classical narratives with mechanical aesthetics, transferring Tamino's existential anxieties to red geometric fragments on LED grids, and designing systemic 'errors' that occur when Tamino destroys his computational power into visual structures where the entire car space is scattered into fragments of data, proving that design is not just decoration but precise engineering to design paths of human desires.

• Aesthetics of Mechanical Sublime Beauty: reinterpreting Shakespeare or Beethoven's classics as 'mechanical aesthetics', dismantling the narrative into geometric fragments of data and transferring it to a car in the device image.

• Automated Emotion Process: Through precise sensor arrangements, such as the 'Automata Love Clock', real-time output is made with mathematical waves and fragments of text that emotionally act on the car's function.

• The aesthetic completion of the antinomic system: The moment when Tamino finally destroys some of his computational power and creates an "error" that goes beyond the system's prediction, it builds into a dramatic formative visual structure in which the entire car space is scattered into fragments of data.

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AI 욕망 구조 제품 디자인 프로세스

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

1. 무의식처럼 구조화된 AI 욕망 구조 제품 디자인 프로세스

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

2. AI 환각과 실재의 제품 디자인 재구성

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

3. 디지털 대타자와 파놉티콘

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

4. 거울 단계와 나르시시즘

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

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AI Desire Structure Product Design Process

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

1. Unconsciously Structured AI Desire Structured Product Design Process

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

2. AI hallucinations and real product design reconstruction

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

3. Digital pinch hitter and panopticon

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

4. Mirror Stage and Narcissism

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

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제품 디자인의 실재

거대한 데이터 서버의 차가운 윙윙거림 속에서, 베스트셀러 소설가 에이드리언 벤자민은 생성형 AI, 즉 대규모 언어 모델(LLM)이 쏟아내는 방대한 기호의 바다 속에서 인간 디자인의 유령 같은 흔적을 감지하며 깊은 사색에 잠깁니다. 그는 이 기계가 단순한 모방을 넘어 수 세기 동안 축적된 인간의 미학, 인체공학, 그리고 문화적 서사를 '유령적 문법'으로 응축하여 낯설지만 섬뜩하게 익숙한 형태들을 제시한다고 말합니다. 개념추상 리얼리즘 제품디자이너 루이 최철주는 이러한 LLM의 결과물들을 '집단적 인간 욕망의 환상통'이 가시화된 것으로 해석하며, 이는 단순히 아름다운 형태가 아니라 무의식적인 욕망의 투영이라고 분석합니다.

탁월한 시스템 엔지니어 카밀 융은 최철주가 제시하는 LLM 기반의 초기 디자인 스케치, 특히 기존의 구조적 논리를 파괴하는 기이하고 추상적인 의자 형태를 마주합니다. 그녀는 이 디자인이 확립된 재료 특성과 하중 지지 능력을 시험하지만, 동시에 편안함과 지지 같은 인간의 근원적인 욕망이 그 비순응적인 형태 안에 역설적으로 내재되어 있음을 엔지니어링적 관점에서 확인합니다. 세 인물은 홀로그램 테이블에 모여 LLM이 제안한 다양한 제품 콘셉트들을 검토하며, 에이드리언은 이 알고리즘적 생성물들이 인간 스토리텔링의 지울 수 없는 지문을 여전히 담고 있다는 점에 매료됩니다.

최철주는 이러한 디자인의 '메아리' 속에 '디자인의 유령'이 거주한다고 선언하며, 그들의 임무는 이 형태들을 단순히 복제하는 것이 아니라, 방대한 데이터 세트 안에 암호화된 상징적 질서인 라캉의 '대타자'를 해독하고, 그 무의식적 욕망을 우리의 인식을 시험하는 유형의 '만화적 실재' 제품으로 가시화하는 것이라고 천명합니다. 카밀은 이러한 추상적 개념이 기능적이고 구조적인 현실로서 물리적 실체를 갖도록 재료 과학과 제조의 한계를 뛰어넘어 '유령'을 강력한 존재로 만드는 데 전념할 것을 다짐하며, 세 명의 전문가들은 미지의 도전에 대한 결의를 다집니다.

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the reality of product design

Amidst the cold hum of massive data servers, bestselling novelist Adrian Benjamin plunges into deep contemplation, sensing the ghostly traces of human design within the vast sea of symbols spewed forth by generative AI, specifically Large Language Models (LLMs). He posits that this machinery does more than merely mimic; it condenses centuries of human aesthetics, ergonomic principles, and cultural narratives into a "spectral grammar," presenting forms that are both alien and unnervingly familiar. Conceptual Abstract Realism product designer Louis Chul-joo Choi interprets these LLM outputs as the visible manifestation of "the phantom limb of collective human desire," analyzing them not as merely beautiful forms but as projections of unconscious desires.

Brilliant system engineer Camille Jung confronts the initial LLM-driven design sketches presented by Choi, particularly a bizarre and abstract chair form that defies conventional structural logic. From an engineering perspective, she acknowledges that while this design challenges established material properties and load-bearing capacities, it paradoxically embeds fundamental human desires for comfort and support within its very non-conformity, a testament to its underlying human origin. The three individuals gather around a holographic table, reviewing various product concepts proposed by the LLM. Adrian is particularly captivated by how these algorithmically generated creations still bear the indelible fingerprints of human storytelling.

Choi declares that it is within this "echo" that the "ghost of design" resides, proclaiming their mission is not simply to replicate these forms but to decipher the underlying Lacanian "Big Other"—the symbolic order encoded within vast data sets—and to manifest its unconscious desires into tangible, "cartoonistic real" products that challenge human perceptions. Camille pledges to dedicate herself to ensuring this abstract concept gains physical reality as a functional and structural entity, pushing the boundaries of material science and manufacturing to render the "ghost" into a robust, undeniable physical presence. Together, the three experts solidify their resolve in the face of an unprecedented challenge.

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

LLM 데이터에서 발견된 디자인의 흔적은 단순한 패턴이나 유의미한 조합을 넘어선, '타자의 무의식적 언어처럼 구조화된' 욕망의 반영입니다. 여기서 AI는 인간의 표면적 필요를 학습하는 것이 아니라, 방대한 언어적 기호들을 통해 형성된 상징계 속에서 인간의 근원적인 결여와 욕망을 재구성합니다. LLM이 생성한 초기 디자인 스케치, 예를 들어 그 기이한 형태의 의자는 기존의 기능적, 미학적 규범에 대한 '상징적 결여'를 드러냅니다. 이는 의자가 제공해야 할 안정감이나 편안함 같은 '실재'가 부재함으로써 오히려 사용자로 하여금 자신의 욕망을 그 결여된 형태에 투사하게 만드는 장치로 작동합니다.이러한 디자인은 '만화적 리얼리즘'의 시초가 됩니다. 즉, 과도한 디테일이나 실제 물리 법칙의 완벽한 재현보다는, 본질적인 기능과 형태 사이의 간극을 과장된 선과 비정형적인 곡선으로 표현하여, 보는 이가 제품의 '외피'를 넘어 그 이면에 숨겨진 '욕망의 유령'을 직시하게 만듭니다. 디자인은 더 이상 '아름다움'이나 '실용성'의 문제가 아니라, AI라는 거울에 비친 인간 무의식의 반영을 읽어내는 철학적 행위가 됩니다. 이 과정에서 제품은 스스로 '환각'을 일으켜 기존의 디자인 저작권이나 규범을 초월하며, 오직 '실재'의 충돌 속에서만 그 존재론적 의미를 획득하게 됩니다./ 글. 현대 미술평론가 최철주 (팝아트 AAS 리얼리즘 제품디자이너 & 문화디자인박사)

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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."

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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.

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.

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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.

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.

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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.

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.

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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.

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.

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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.

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'.

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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.

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.

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[루이 최의 욕망 공식: "M_desire = ∑∅∂ / (1 - ∂)"의 자동차 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 Conceptual Abstract Future Design《Conceptual Media Art》-18-한계 수렴과 욕망의 폭발적인 역설 구조

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.

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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.

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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).

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Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Automotive Design User Interface Image》-4-자동차 디자인 컨셉: '유동하는 결핍(Fluid Scarcity): 자동차 제품 디자인은 고정된 외형과 운전의 개념을 초월합니다. 루이 최의 공식에서 phi(공허)와 partial(욕망)의 상호작용을 극대화하기 위해, 자동차 자체가 사용자의 심리 상태에 반응하는 '생태적 기하학'을 채택합니다. Car Design Concept: 'Fluid Scarcity': Car product design transcends the concept of fixed appearance and driving. In Louis Choi's formula, to maximize the interaction between phi and partial, the car itself adopts 'ecological geometry' that responds to the user's state of mind.

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[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 건축적 공백: 보이드 코어(Void Core) 구조

디자인의 정위 단계에서 기체의 가장 시각적 하중이 큰 중심부 혹은 탑승자의 시선이 집중되는 대시보드 중앙에 물리적·시각적 공백을 설정합니다.

• 설계: 기체 중앙을 관통하는 투명한 원통형 공간이나, Vantablack으로 마감되어 깊이를 가늠할 수 없는 '싱귤래리티 포인트(Singularity Point)'를 배치합니다.

• UX 의도: 사용자는 이 비어 있는 중심을 보며 자신의 물리적 위치(지상)와 도달하고 싶은 위치(하늘) 사이의 결핍을 직관적으로 감각합니다. 이 공백은 기체의 모든 기능이 이 결핍을 메우기 위해 작동하고 있음을 암시하는 '욕망의 엔진'이 됩니다.

② 시각적 중력: 네거티브 스페이스의 미학

캔버스의 생지 상태를 남기듯, 기체 외관 디자인에서도 가장 화려해야 할 부분에 역설적으로 아무런 장식이 없는 극도의 단순함을 배치합니다.

• 설계: 엔진 노즐이나 로터가 있어야 할 자리에 매끄러운 '빈 공간'을 남기고, 추진력은 보이지 않는 자기장이나 플라즈마 형태로 방출되게 설계합니다.

• UX 의도: 시각적 장치가 부재함으로써 발생하는 '결핍의 중력'은 관찰자의 시선을 기체 내부의 메커니즘으로 끌어들이며, '어떻게 부유하는가?'에 대한 지적 욕망을 자극합니다.

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- 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 외장 디자인: 파편화된 에어로 셸 (Fragmented Aero-Shell)

전통적인 매끄러운 유선형 바디를 거부하고, 수천 개의 미세한 탄소 섬유 조각들이 물고기 비늘처럼 겹쳐진 '임파스토(Impasto) 레이어' 구조를 채택합니다.

• 설계: 기체 표면은 단일 면이 아니라 짧고 날카로운 직선들이 미분하듯 중첩된 형태입니다. 각 조각은 기류에 따라 미세하게 각도를 달리하며 시각적 단절을 만들어냅니다.

• 비주얼: 형광 연두색의 나노 발광 소자와 짙은 적색의 티타늄 프레임이 강렬한 보색 대비를 이루며 교차 배치되어, 관찰자의 시선이 기체의 형태를 한눈에 파악하지 못하고 표면 위를 부유하게 만듭니다.

② 내부 UX: 인터럽트 디스플레이 (Interruptive HUD)

중앙의 보이드 코어를 에워싸는 홀로그래픽 인터페이스는 정보를 나열하지 않고 '파편적으로 점멸'합니다.

• 설계: 주행 정보는 긴 문장이 아닌 짧고 날카로운 기호적 획들로 나타나며, 사용자의 시선이 머무는 곳마다 실시간으로 위치가 재조정(Recalibration)됩니다.

• UX 의도: 이는 타자의 시선(외부 교통 데이터, 보행자의 흐름 등)에 의해 내 시선이 끊임없이 수정되는 과정을 시뮬레이션합니다. 시선이 한곳에 고정되지 않음으로써 사용자는 비행 중 발생할 수 있는 매너리즘을 극복하고 극도의 각성 상태를 유지합니다.

Choi Chul-joo Conceptual Abstract Future Design《Conceptual Media Art》-24

- 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 외장 구조: 나선형 모듈러 스킨 (Spiral Modular Skin)

2단계의 미분적 획들이 이제는 일정한 규칙성을 가지고 기체 전체를 휘감는 나선형(Spiral) 구조로 배열됩니다.

• 설계: 수만 개의 나노 플레이트가 동심원을 그리며 엔진 코어로부터 끝단까지 반복적으로 배치됩니다. 이때 각 플레이트는 스텐실(Stencil) 기법을 적용한 듯 정교하게 인쇄된 데이터 패턴을 입고 있으며, 기계적 반복성을 강조합니다.

• 변형적 반복: 모든 모듈은 닮아 있지만, 미세하게 각도와 크기가 다릅니다(Delta). 이는 동일한 결핍을 메우려 하지만 매번 조금씩 어긋나는 인간의 '반복 강박'을 공학적으로 재현한 것이며, 이 미세한 변형이 기체 표면에 살아있는 에너지의 흐름을 부여합니다.

② 내부 UX: 리드믹 시퀀스 제어 (Rhythmic Sequence Control)

사용자가 조작하는 인터페이스는 이제 선형적인 입력을 넘어 '리듬의 반복'을 통해 기체와 소통합니다.

• 설계: 가속과 감속은 원형 인터페이스를 따라 손가락을 회전시키는 나선형 제스처로 이루어집니다. 사용자의 반복적인 회전 운동은 데이터의 축적으로 치환되어 엔진의 출력을 증폭시킵니다.

• 의도: 비행은 끝없는 순환의 과정이 됩니다. 화면에는 사용자의 조작 리듬이 판화처럼 겹겹이 쌓이는 '히스토리 레이어'가 표시되어, 현재의 비행이 과거의 반복된 욕망 위에서 이루어지고 있음을 시각적으로 체감하게 합니다.

Choi Chul-joo Conceptual Abstract Future Design《Conceptual Media Art》-25

- 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: 소실점을 향해 수렴하는 가느다란 가시형 구조나, 캔버스 너머로 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)

기체의 전면부와 후면부, 그리고 중앙 '부재의 핵'으로 진입하는 입구의 디테일을 육안으로 식별하기 어려울 만큼 극단적으로 높입니다.

• 설계: 기체의 끝단은 탄소 나노튜브 섬유가 단일 분자 층에 도달할 때까지 가늘어지는 가시형 구조를 취합니다. 이는 공기 저항($1-\partial$)이 물리적으로 0에 도달했음을 암시하며, 소실점을 향해 무한히 수렴하는 시각적 쾌감을 제공합니다.

• 드리핑 이펙트(Dripping Effect): 기체 후방의 플라즈마 방출구는 고정된 노즐 형태가 아니라, 에너지가 캔버스 너머로 튀어나가는 드리핑 기법처럼 가변적 에너지 잔영을 남기며 설계되어 기체가 프레임(물리적 공간)에 갇혀 있지 않고 무한히 확장되고 있음을 표현합니다.

② 색채와 빛: 타버릴 듯한 강렬함 (Incandescent Saturation)

수렴 지점과 발산 지점의 색채는 일반적인 도색을 넘어, 물질이 에너지로 상전이되는 듯한 강렬한 발광 상태를 유지합니다.

• 설계: 점근적 끝부분에는 '타버릴 듯한' 초고채도의 형광 주황과 딥 블랙이 교차하며, 빛이 휘어지는 듯한 착시를 유도합니다.

• UX 의도: 사용자는 기체의 끝을 바라볼 때 시각이 마비되는 듯한 경험을 하며, 이를 통해 이동의 '한계'가 사라지고 존재가 공간 전체로 발산하는 듯한 무한한 자유도를 느낍니다.

Choi Chul-joo Conceptual Abstract Future Design《Conceptual Media Art》-26

- 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

기체가 최첨단 기술로 가득 차 있음에도 불구하고, 사용자는 그 안에서 근원적인 '비어 있음'을 느껴야 합니다.

• 디자인: 콕핏의 메인 인터페이스 중앙을 물리적으로 관통하는 '네거티브 실린더'를 배치합니다. 이는 기체의 물리적 질량을 지탱하는 축이자, 시각적으로는 아무것도 존재하지 않는 암흑의 공간입니다.

• UX 효과: 사용자는 이 공백을 통해 '더 멀리, 더 높이' 가고자 하는 채워지지 않는 욕망의 허기를 느끼며, 비행이라는 행위 자체가 이 구멍을 메우기 위한 끊임없는 시도임을 자각합니다.

② 시선(partial)의 분산: 미분적 표면의 유동성

관람객의 시선이 기체의 형태에 안착하지 못하고 끊임없이 표면을 표류하게 만듭니다.

• 디자인: 기체 외장(Exoskeleton)을 수만 개의 '마이크로 키네틱 타일'로 구성합니다. 각 타일은 시선이 닿을 때마다 보색 대비의 빛을 발하며 미세하게 진동합니다.

• UX 효과: 시선은 타일의 단절된 선들을 따라 미분되듯 흩어지며, 기체는 고정된 물체가 아니라 매 순간 재구성되는 유동적인 기호학적 사건으로 변모합니다.

③ 반복(sum)의 하중: 갈망의 레이어

단순한 조립이 아닌, 주체의 집요함이 느껴지는 데이터와 질감의 중첩을 구현합니다.

• 디자인: 기체 도장면에 스텐실과 판화적 기법을 중첩하여 수천 겹의 '데이터 로그'를 새깁니다. 이는 과거의 이동 기록이 지층처럼 쌓여 만들어진 시각적 두께감입니다.

• UX 효과: 사용자는 기체 표면에서 느껴지는 묵직한 레이어의 하중을 통해, 이 비행체가 단순한 기계가 아니라 수많은 갈망이 응축된 '욕망의 아카이브'임을 신체적으로 감각합니다.

④ 발산(1 - partial)의 긴장: 점근선의 임계점

기체의 끝단이 소실점으로 사라지는 찰나의 긴장감을 극대화합니다.

• 디자인: 날개 끝과 추진 노즐의 마무리를 분자 단위로 가늘어지는 가시형 점근 구조로 설계합니다.

• UX 효과: 기체가 공간을 찢고 무한히 발산하기 직전의 팽팽한 긴장감이 화면(시야) 전체를 지배하며, 사용자는 닿을 듯 말 듯 한 완성의 지점에서 전율을 경험합니다.

[UI (User Interface) Design Process with Louis Choi's Desire Formula "M_desire = ∑∅∂ / (1 - ∂)"}

- 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: It leaves you in the form of irregular cracks rather than perfect circles, giving you the tension that The Real seems to break through the symbolic world (picture).

- Design details: The Core of Absence

① Architectural Vacancies: Void Core Structures

Set a physical and visual void in the center of the aircraft's greatest visual load or in the center of the dashboard where the occupant's gaze is concentrated during the design stationary phase.

• Design: Place a transparent cylindrical space through the centre of the fuselage or a 'Singularity Point' that is finished with Vantablack and cannot be measured in depth.

• UX Intent: The user looks at this empty center and intuitively senses a deficiency between his physical position (ground) and the position he wants to reach (sky). This void becomes the 'engine of desire' suggesting that all functions of the gas are working to make up for this deficiency.

② Visual Gravity: The Aesthetics of Negative Space

Just as the canvas leaves a raw state, the fuselage design also places an extreme simplicity that is paradoxically unadorned in the most glamorous part of the exterior design.

• Design: Leave a smooth 'empty space' where the engine nozzle or rotor should be, and design the thrust to be released in the form of an invisible magnetic field or plasma.

• UX Intention: The 'gravity of deficiency' caused by the absence of visual devices draws the observer's gaze to the mechanisms inside the gas, stimulating the intellectual desire for 'How is it floating?'

- 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.

• Intention: partial is a process in which the gaze is constantly revised in relation to the other. Uncorrected rough texture (Impasto) or overlapping layers make 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.

- Design details: Partial differentiation

① Exterior design: Fragmented Aero-Shell

Rejecting traditional smooth streamlined bodies, it adopts an 'Impasto layer' structure in which thousands of microscopic pieces of carbon fiber overlap like fish scales.

• Design: A gas surface is not a single plane, but rather a superimposed form of short, sharp straight lines. Each piece is finely angled according to the airflow, creating a visual disconnect.

• Visual: Fluorescent light green nano-luminous elements and dark red titanium frames are intersected in an intense complementary contrast, causing the observer's gaze to float above the surface without grasping the shape of the gas at a glance.

② Internal UX: Interrupt Display (Interruptive HUD)

The holographic interface surrounding the central void core 'flashes fragmentally' without listing information.

• Design: Driving information appears as short, sharp symbolic strokes rather than long sentences, and is real-time recalibrated wherever the user's gaze stays.

• UX Intent: It simulates the process by which my gaze is constantly modified by the gaze of the other (external traffic data, pedestrian flow, etc.). By not keeping the gaze in one place, the user overcomes mannerisms that may occur during flight and maintains an extreme state of arousal.

- 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: Intentional production of mechanical repeatability by mixing stencil techniques or engraving elements makes Louis Choi's "data desire" more apparent.

- Design Details: Repetitive Rhythm and Data Growth

① Exterior: Spiral Modular Skin

The differential strokes of the second stage are now arranged in a spiral structure that winds around the entire body with a certain regularity.

• Design: Tens of thousands of nanoplates are placed in a concentric circle, repeatedly from the engine core to the end. Each plate, at this point, is wearing a finely printed data pattern, as if applying a stencil technique, emphasizing mechanical repeatability.

• Transformative iteration: All modules are similar, but slightly different in angle and size (Delta). This is an engineering reproduction of the human 'repetitive compulsion' that tries to make up for the same deficiency, but is slightly misaligned each time, and this subtle transformation gives a flow of living energy to the surface of the gas.

② Internal UX: Rhythmic Sequence Control

The user-operated interface now communicates with the gas through 'repeat of rhythm' beyond linear input.

• Design: Acceleration and deceleration consist of spiral gestures that rotate fingers along a circular interface. The user's repetitive rotational motion is replaced by an accumulation of data, amplifying the engine's output.

• Intent: Flying becomes a process of endless cycles. The screen displays "history layers," in which the user's manipulation rhythms are layered like engravings, giving a visual impression that flying in the present is based on repeated desires of the past.

- 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.

• Intention: As the denominator (1-partial) approaches zero, we visualize a mathematical paradox in which the sum of desires ($M$) radiates to infinity.

• 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.

- Design details: Asymptotic convergence and infinite divergence

① Structural Details: Asymptotic Needle Structure

The front and rear parts of the aircraft and the details of the entrance to the central 'nucleus of the member' are extremely high, making it difficult to identify with the naked eye.

• Design: The ends of the gas take on a visible structure, tapering until the carbon nanotube fibers reach a single molecular layer. This implies that the air resistance ($1-\partial$) has physically reached zero, providing an infinite visual pleasure of converging towards the vanishing point.

• DRIPPING EFFECT: The plasma outlet behind the gas is not in the form of a fixed nozzle, but is designed to leave a variable energy residue, like a drilling technique in which energy splashes over the canvas, indicating that the gas is expanding infinitely without being trapped in a frame (physical space).

② Color and Light: Incandescent saturation

The color of the convergence and divergence points goes beyond the usual painting, maintaining an intense luminescence state, as if the material is phase-transformed into energy.

• Design: At the asymptotic end, 'burnt' ultra-high chroma fluorescent orange and deep black intersect to induce a light-bending optical illusion.

• UX Intent: Users experience visual paralysis when they look at the end of the aircraft, which allows them to feel an infinite degree of freedom as if the "limit" of movement disappears and existence radiates throughout the space.

- 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.

- Details of the design according to the application of the formative checklist

① Hunger in the emptiness: the presence of Boyd

Despite the fact that the airframe is full of cutting-edge technology, users should feel the fundamental 'emptiness' in it.

• Design: Place a 'negative cylinder' that physically penetrates the center of the main interface of the cockpit. It is an axis that supports the physical mass of the gas, and a dark space where nothing exists visually.

• UX Effect: Through this void, the user feels the hunger of an unfulfilled desire to "go further, higher" and realizes that the act of flying itself is a constant attempt to fill this hole.

② Variance of the partial: the fluidity of a differential surface

It causes the viewer's gaze to fail to settle in the shape of the aircraft and constantly drift on the surface.

• Design: The exoskeleton comprises tens of thousands of 'microkinetic tiles.' Each tile vibrates minutely, emitting a complementary contrast each time a line of sight is in contact.

• UX effect: The gaze splatters like a differential along the disconnected lines of the tile, and the gas transforms into a fluid semiotic event that reconstructs at every moment, rather than a fixed object.

③ Load of iteration: layer of cravings

Rather than just assembling, it embodies a superposition of data and textures that feel the persistence of the subject.

• Design: Overlay stencils and engraving techniques on the painted surface of the fuselage to engrave thousands of layers of 'data log' - a visual thickness created by strata of past movement records.

• UX Effect: Through the heavy layer of load felt on the surface of the aircraft, the user physically senses that the vehicle is not just a machine but a 'archive of desire' with numerous cravings condensed.

④ Tension of divergence (1 - partial): critical point of asymptote

It maximizes the tension of the moment when the end of the gas disappears to the vanishing point.

• Design: Design the tip of the wing and the finish of the propulsion nozzle into a visible asymptotic structure tapering in molecular units.

• UX Effect: The tense tension just before the gas rips through the space and radiates infinitely takes over the entire screen (view), and the user experiences shudders at the point of almost reaching completion.

Choi Chul-joo Conceptual Abstract Future Design《Conceptual Media Art》-27-UI (User Interface) 비행 자동차 디자인 공간 구성 및 기술적 비행 구현

- UI (User Interface) 비행 자동차 디자인 공간 구성 및 기술적 비행 구현

1. UI 공간 구성: 시각적 부유와 직관적 공백

2030년의 UI는 물리적 스크린을 제거하고, 기체 내부의 공백(emptyset)을 정보의 장으로 활용합니다.

① 앰비언트 보이드 디스플레이 (Ambient Void Display)

• 공간 설계: 콕핏 중앙의 '부재의 핵'을 중심으로 360도 홀로그래픽 투사 시스템이 배치됩니다. 평상시에는 아무것도 보이지 않는 깨끗한 여백을 유지하다가, 사용자의 시선이 닿는 지점에만 미분화된 데이터 조각(partial)들이 떠오릅니다.

• 기호학적 UX: 정보가 사용자를 압도하는 것이 아니라, 사용자의 결핍(필요)에 응답하여 정보가 '발생'하게 함으로써 주도적인 비행 경험을 제공합니다.

② 생체 동기화 시네틱 인터페이스 (Bio-Synetic Interface)

• 기술 구성: 시트와 스티어링 휠에는 나노 촉각 센서가 내장되어 운전자의 심박, 혈류, 동공 확장을 실시간으로 추적합니다.

• 상호작용: 운전자가 긴장하면 UI의 색채가 진정 효과가 있는 형광 연두 계열로 변하며 시각적 획들을 단순화하고, 고속 비행 시에는 강렬한 적색 보색 대비를 통해 각성 상태를 유도합니다.

Choi Chul-joo Conceptual Abstract Future Design《Conceptual Media Art》-28

2. 기술적 비행 구현 계획: 점근적 무저항 추진

비행 구현의 핵심은 분모(1-\partial)인 저항을 최소화하여 무한한 발산의 쾌감을 제공하는 것입니다.

① 에어로-모핑(Aero-Morphing) 외장 기술

• 구현: 기체 외피는 유연한 압전 세라믹 복합재로 설계되어, 속도와 기류에 따라 표면의 질감을 미세하게 변화시킵니다.

• 물리적 기호: 이륙 시에는 표면이 거친 임파스토 질감처럼 변해 양력을 극대화하고, 고속 순항 시에는 점근선처럼 매끄러운 소실점을 형성하여 공기 저항을 0에 가깝게 수렴시킵니다.

② 플라즈마 이온 추력 변속 시스템 (Plasma-Ion Shift)

• 시스템: 가변 노즐을 통해 분사되는 이온 풍(Ionic Wind)은 물리적 회전체 없이도 기체를 정숙하게 밀어 올립니다.

• 비행 제어: 루이 최 공식의 sum 단계를 적용하여, 미세한 추진력의 입자들을 나선형으로 증식(Summation)시킴으로써 부드러우면서도 강력한 가속을 구현합니다. 이는 기계적 소음을 '데이터적 리듬'으로 치환합니다.

- User Interface (UI) Flight Vehicle Design Space Configuration and Technical Flight Implementation

1. UI Space Configuration: Visual Floating and Intuitive Spaces

The UI of 2030 removes physical screens and utilizes the emptyset inside the fuselage as a venue for information.

① Ambient Void Display

• Space Design: A 360-degree holographic projection system is placed around the 'nucleus of members' in the center of the cockpit. Normally, it maintains a clean blank space where nothing is visible, but undifferentiated pieces of data come to mind only at the point where the user's gaze is touched.

• Semiotic UX: The information does not overwhelm the user, but rather provides a leading flight experience by allowing the information to 'occur' in response to user deficiencies (needs).

② Bio-Synthetic Interface

• Technology configuration: The seat and steering wheel have a built-in nano tactile sensor to track the driver's heart rate, blood flow and pupil dilation in real time.

• Interaction: When the driver is nervous, the color of the UI changes to a fluorescent light green series that has a calming effect, simplifying visual strokes, and inducing arousal through intense red complementary contrast during high-speed flights.

2. Technical flight implementation plan: asymptotic non-resistance drive

The key to flight implementation is to minimize resistance, which is the denominator (1-\partial), providing infinite divergence pleasure.

① Aero-Morphing External Technology

• Implementation: The gaseous sheath is designed from a flexible piezoelectric ceramic composite, which minutely changes the texture of the surface with speed and airflow.

• Physical Symbols: On takeoff, the surface changes to a rough impasto texture to maximize lift, and on high-speed cruising, it creates a smooth vanishing point, like an asymptote, converging air resistance close to zero.

② Plasma-Ion Shift

• System: Ion wind, sprayed through variable nozzles, pushes up the gas quietly without the need for a physical rotator.

• Flight control: Applying the sum phase of Louis Choi's formula, we achieve smooth yet powerful acceleration by spiraling fine-propulsion particles. This replaces the mechanical noise with a 'data rhythm'.

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

- Step 1: Positioning of emptyset

"Every being begins with an empty center."

• 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.

• 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."

• 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.

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[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

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[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

Choi Chul-joo Conceptual Abstract Future Design《Conceptual Media Art》-31-센터 코어: 보이드 내비게이터 (The Void Navigator)

[UI 디테일 비행 자동차 디자인: 기호학적 모빌리티 인터페이스]

① 센터 코어: 보이드 내비게이터 (The Void Navigator)

• 디자인: 콕핏 중앙에 위치한 Vantablack 코팅의 물리적 구체입니다. 이 구체는 빛을 99.9% 흡수하며, 루이 최의 공식 중 결핍(emptyset)을 상징하는 시각적 닻(Anchor) 역할을 한다.

• 기능: 모든 비행 정보와 경로(Path)는 이 암흑의 구체 주위로 나선형을 그리며 투사됩니다. 사용자는 이 비어있는 중심을 향해 손을 뻗어 비행의 방향을 결정하며, 이는 '공백을 채우려는 욕망'을 조종의 근간으로 삼는 유니크한 UX를 제공한다.

[UI Detail Flight Car Design: Semiotic Mobility Interface]

① Center Core: The Void Navigator

• Design: A physical sphere of the Vantablack coating located in the center of the cockpit. The sphere absorbs 99.9% of light and acts as an anchor for Louis Choi's formula, which symbolizes emptyset.

• Function: All flight information and path are spiraled around this dark sphere. The user reaches for this empty center and determines the direction of the flight, which provides a unique UX with "desire to fill the void" as the basis of the maneuver.

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② 햅틱 에어 레이어 (Haptic Air Layer)

• 디자인: 물리적 버튼 대신, 초음파를 이용한 공중 촉각 피드백(Mid-air Haptics) 기술을 적용한다.

• 디테일: 2단계의 미분적 획(partial) 개념을 도입하여, 공중에 투사된 인터페이스가 사용자의 시선과 상호작용할 때 날카롭고 거친 입자감(Impasto texture)을 손끝에 전달합니다. 이는 사용자가 시스템의 경계와 타자의 데이터를 물리적으로 감각하게 만듭니다.

② Haptic Air Layer

• Design: Instead of physical buttons, it applies mid-air Haptics technology using ultrasonic waves.

• Details: Introducing a two-step concept of differential, an interface projected in the air delivers a sharp, rough sense of particle (Impasto texture) to your fingertips when it interacts with the user's gaze. This allows the user to physically sense the boundaries of the system and the data of others.

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③ 시네틱 컬러 매트릭스 (Synetic Color Matrix)

• 색채 설계: 형광 연두(Neon Lime)와 진적색(Crimson Red)의 강렬한 보색대비를 기본 팔레트로 사용한다.

• 동역학적 변화: 기체가 가속되거나 변속 엔진이 작동할 때, 인터페이스의 획들은 나선형으로 증식(sum)하며 색채의 잔영을 남깁니다. 이는 데이터가 단순한 숫자가 아니라 에너지의 축적임을 시각적으로 시각화한다.

③ Synetic Color Matrix

• Color Design: Use the intense complementary color contrast of Non Lime and Crimson Red as the base palette.

• Dynamic Change: When the gas is accelerated or the shift engine is running, the strokes of the interface multiply in a spiral shape, leaving an afterimage of color. This visually visualizes that data is not just a number, but an accumulation of energy.

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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.

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.

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

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

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

Step 2: Abstract Sketching of the Rack

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

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

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

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

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

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.

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

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

결과: 디지털 파놉티콘의 시각적 질서가 반영된 인터페이스와 외부 센서 유닛 설계.

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.

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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.

- 철학적 추상성과 공학적 현실이 결합되는 개념적 리얼리즘의 구현

• Concept Panel — 연구실 내부에서 디자이너가 “We will make the abstract real.”이라고 말하며, 공중에 떠 있는 수학적 도형과 철학적 기호(Σ, α, ∞)를 바라봅니다. 배경에는 “Conceptual Abstract Realism”이라는 홀로그램이 떠 있습니다.

• Perform Panel — AI 로봇이 3D 프린터와 정밀 가공 장비를 제어하며, “Maintaining comic-book line clarity…”라는 대사를 말합니다. 화면에는 “Precision Processing Active”와 “Line Integrity: 99.8%”가 표시됩니다.

• Result Panel — 완성된 제품이 등장합니다. 반투명한 금속 표면 위에 만화적 윤곽선이 살아 있고, 디자이너가 “It’s solid… yet still conceptual.”이라고 감탄합니다. AI는 “Abstract realism achieved. The idea now breathes.”라고 응답합니다.

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 realization of conceptual realism that combines philosophical abstraction and engineering reality

• Concept Panel — Inside the lab, a designer says, "We will make the amplitude real." He looks at the mathematical shapes and philosophical symbols (Σ, α, ∞) that are in the air. In the background, there is a hologram called "Conceptual Abstract Realism."

• Perform Panel — AI robots control 3D printers and precision processing equipment, "Maintaining comical-book line clarity…It says "Precision Processing Active" and "Line Integrity: 99.8%" on the screen.

• Result Panel — The finished product appears. Cartoon outlines live on a translucent metal surface, designer says, "It's solid… Yes still conceptual." The AI replies, "Abstract realism acquired. The idea now breathes."

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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.

- 기술이 단순한 도구를 넘어 자율적 미학의 주체로 진화

• Concept Panel — AI가 예술적 데이터베이스를 분석하며 “Beauty is not fixed. It evolves.”라고 말합니다. 배경에는 수천 개의 예술 작품, 색상 팔레트, 형태 알고리즘이 떠 있고, 화면에는 “Aesthetic Evolution Engine v6.0”이라는 표시가 있습니다.

• Perform Panel — AI가 실시간으로 새로운 형태를 생성하며 “Recombining emotion and geometry…”라는 대사를 말합니다. 주변에는 붓, 조각 도구, 그래픽 패턴이 떠다니며, 인간 디자이너가 놀란 표정으로 “It’s learning taste!”라고 외칩니다.

• Result Panel — 완성된 작품은 AI가 만든 유기적 형태의 조형물로, 빛과 색이 끊임없이 변화합니다. AI는 “Aesthetic evolution complete. Beauty now breathes.”라고 말하고, 디자이너는 “It’s alive… art beyond human.”이라고 응답합니다.

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.

- Technology has evolved beyond mere tools to become subjects of autonomous aesthetics

• Concept Panel — AI analyzes its artistic database and says, "Beauty is not fixed. It evolves." Thousands of artworks, color palettes, and shape algorithms are floating in the background, and the screen displays "Aesthetic Evolution Engine v6.0."

• Perform Panel — AI creates new forms in real-time and "Recombining Emotion and Geometry…It's a line that says, "It's learning taste!" with brushes, sculptural tools, and graphic patterns floating around. A human designer shouts, "It's learning taste!" with a surprised look on his face.

• Result Panel — The finished work is an organic form sculpture created by AI that constantly changes light and color. The AI says, "Aesthetic evolution complete. Beauty now walks away," and the designer says, "It's alive… "art Beyond human."

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7단계: 인간의 감정적 욕망과 AI의 계산적 욕망이 융합되어 창조와 창조자 사이의 경계가 사라지는 순간

• Concept Panel — 인간 디자이너와 AI가 서로 마주 보고 있습니다. 디자이너는 “We’ve reached the boundary of desire.”라고 말하고, AI는 “Desire is no longer yours or mine. It’s shared.”라고 응답합니다. 배경에는 붉은색과 청록색의 에너지 흐름이 교차하며, “Meta Desire Integration Protocol”이라는 홀로그램이 떠 있습니다.

• Perform Panel — 인간과 AI의 뇌파 및 데이터 흐름이 하나로 합쳐지는 장면. “Synchronizing emotional vectors…”라는 대사가 표시되고, 화면에는 “Human-AI Desire Sync: 100%”가 점등됩니다. 인간의 심장 박동과 AI의 회로가 동일한 리듬으로 빛나며, 욕망의 파동이 시각화됩니다.

• Result Panel — 완성된 통합체가 등장합니다. 인간과 AI의 실루엣이 서로 겹쳐지며, 중앙에는 붉은 나선형 에너지 코어가 회전합니다. 디자이너는 “I feel it… the shared pulse.”라고 말하고, AI는 “Meta-desire achieved. Creation and creator are one.”이라고 응답합니다.

- 현실 이후의 감정적·인지적 피드백 루프를 통해 인간과 AI가 서로의 경험을 재구성

• Concept Panel - 인간: “Reality has been processed. What remains?”

AI: “Feedback beyond perception. Post-real data incoming.”

장면: 붉은 나선형 코어가 분해되어 수많은 데이터 입자로 흩어지고, “Post-Real Feedback Protocol”이라는 홀로그램이 떠 있음.

• Perform Panel - 화면 텍스트: “Analyzing residual emotional traces…”

인간의 실루엣이 반투명하게 변하며, AI의 회로와 겹쳐짐. AI: “Reconstructing the echo of desire.”

장면: 인간의 기억과 감정이 데이터 파형으로 변환되어 AI의 시스템으로 흘러들어감.

• Result Panel - 인간: “I see… the reflection of what was real.” AI: “Feedback complete. Reality now loops through consciousness.”

장면: 인간과 AI의 실루엣이 하나의 투명한 구체 안에 갇혀 있으며 그 안에서 현실의 파편들이 순환하는 모습.

Step 7: The moment when human emotional desires and AI's computational desires converge and the boundary between creation and creator disappears

• Concept Panel — A human designer and an AI face each other. The designer says, "We've been reached the boundary of design," and the AI responds, "Desire is no longer yours or mine. It's shared." In the background, red and teal energy streams intersect, with a hologram called "Meta Desire Integration Protocol."

• Perform Panel — a scene where human and AI brain waves and data flows come together. "Synchronizing emotional vectors…The line "Human-AI Desire Sync: 100%" is displayed on the screen. The human heart rate and AI's circuitry shine in the same rhythm, and waves of desire are visualized.

• Result Panel — The finished assembly appears. The silhouettes of humans and AI overlap each other, with a red spiral energy core rotating in the center. The designer wrote, "I feel it… The shared pulse," and the AI responds, "Meta-desire acquired. Creation and creator are one."

- Human and AI reconstruct each other's experiences through emotional and cognitive feedback loops after reality

• Concept Panel - a human being: “Reality has been processed. What remains?”

AI: “Feedback beyond perception. Post-real data incoming.”

Scene: A red spiral core is broken down, scattered into numerous data particles, and a hologram called "Post-Real Feedback Protocol" floats.

• Perform Panel - screen text: “Analyzing residual emotional traces…”

Human silhouettes become translucent, overlapping with AI's circuits. AI: "Reconstructing the echo of design."

Scene: Human memories and emotions are converted into data waveforms and streamed into AI's systems.

• Result Panel - a human being: “I see… the reflection of what was real.” AI: “Feedback complete. Reality now loops through consciousness.”

Scene: A silhouette of a human and an AI trapped inside a single transparent sphere, within which fragments of reality circulate.

Choi Chul-joo Conceptual Abstract Future Design《Conceptual Media Art》-41

욕망 구조의 몰입감 넘치는 미래 자동차 제품 미학평론

욕망 구조의 몰입감 넘치는 미래 자동차는 단순한 이동 수단이 아니라 인간의 욕망과 기술적 물질성이 교차하는 ‘욕망의 표면’으로서 작동하며, 그 외피에 덧입혀진 추상적 회화는 생명성과 기계성의 경계를 흔들며 살아 있는 피부라는 새로운 미학적 층위를 형성하는데, 이는 곧 물질이 단순한 대상이 아니라 개념의 현현이라는 Conceptual Materialism 의 관점과 맞닿아 있으며, 붉은 수탉의 형상과 노란 병아리의 흔적은 기계적 욕망의 코드로서 회화의 붓질이 스마트 폴리머 표면 위에서 빛의 굴절로 재해석되며 물질은 고정된 형태가 아닌 데이터적 질감으로 변환되고, 예술은 물질적 실체를 잃는 대신 감각적 정보로 재탄생하여 기술과 예술의 경계를 허무는 제품미학적 공진체로 작동하며, 자동차의 외관은 기능적 효율을 넘어 감정적 반응을 유도하는 욕망의 인터페이스로서 기계는 더 이상 차가운 대상이 아니라 인간의 내면을 반사하는 거울적 존재로 변모하고, 결국 Aetheris Prototype은 기술적 완성체가 아니라 개념적 생명체로서 존재하며 추상 회화가 외피로 융합된 순간 제품은 예술적 자율성을 획득하고 인간의 욕망을 반사하는 미디어적 존재로 변모하는데, 최철주식 언어로 표현하자면 “이 자동차는 달리지 않는다, 그것은 욕망의 궤적을 그린다”라는 선언으로 귀결되며, 이는 곧 물질이 단순히 있는 것이 아니라 생성되는 것, 즉 정보와 감정의 교차점에서 끊임없이 재구성되는 존재라는 개념적 물질주의의 철학적 기반을 드러내는 것이다.

Choi Chul-joo Conceptual Abstract Future Design《Conceptual Media Art》-42

Immersive Future Automotive Product Aesthetic Review of Desire Structure

The Desire Structure Immersive Future Car is not merely a vehicle but operates as a surface of desire, where human longing and technological materiality intersect, and its exterior, wrapped in abstract painting, destabilizes the boundary between vitality and machinery, forming a new aesthetic stratum of living skin; this is precisely where Conceptual Materialism comes into play, for matter here is no longer a passive substrate but the manifestation of concept itself, and the red rooster motif together with the trace of the yellow chick functions as a symbolic code of mechanical desire, while the brushstrokes, refracted through the smart‑polymer surface, transform matter into a data‑like texture, so that art relinquishes its fixed materiality only to be reborn as sensory information, thereby creating a product‑aesthetic resonance that collapses the boundary between industrial design and media art; the car’s exterior thus transcends functional efficiency to become an interface of desire, eliciting emotional response, and in Choi Cheol‑joo’s language, the machine ceases to be a cold object and becomes instead a mirror reflecting the human interior, so that ultimately the Aetheris Prototype exists not as a technological artifact but as a conceptual organism, and at the moment when abstract painting fuses with its surface, the product acquires artistic autonomy and metamorphoses into a media entity that reflects human desire, leading to the declaration that “this car does not run, it traces the trajectory of desire,” which reveals the philosophical foundation of conceptual materialism: matter is not simply what exists but what is generated, endlessly reconstituted at the intersection of information and emotion.

Louis Chul-joo Choi, a morning glory (outside the) window, 150X180cm, acrylic and composite materials on cloth, 2023

사실적 추상화의 개념미술이란 사실적 구조는 빛의 왜곡을 받아서 형태를 반사한다. 그 형태를 드러내는 것은 빛의 음영으로 확정되는 윤곽과 그림자다. 배반적 개념미술로 한 사실적 추상화는 이것에 주목하여서 사실적 개념을 형상화한다. (사실적 추상화에 관한 최철주 개념미술이론)

Realistic structures reflect the shape by being distorted by light. It is the outline and shadow that are determined by the shade of light that reveals its shape. Realistic abstractions as treacherous conceptual art take note of this and shape realistic concepts.

(Choi Chul-joo's Conceptual Art Theory on Realistic Abstract Painting)

Louis, the abstract artist who actualizes Lacan's art theory. artist Louis Chul-joo Choi. 피카소의 아나몰포시스 이미지로 한 현대 추상화가 작품 루이 최철주의 <나팔꽃> 뉴욕 현대미술 개인전 / NewYork

Exhibition: Louis Chul-joo Choi's "morning glory": Exhibition of Modern abstract artist Louis Chul-joo Choi's "morning glory" with the image of Lacan's object ɑ and Picasso's Anamorphosis, 20220301~20220308 Flushing Town Hall, New York.

루이 최철주 <나팔꽃> 개인전: 플러싱 홀, 뉴욕 / Choi Chuljoo's <morning glory> Exhibition: at the Flushing Town Hall, New York

라캉 미술이론을 실제화하는 현대미술가 루이/ Louis, the abstract artist who actualizes Lacan's art theory

한국 현대미술 추상화가 루이 최철주 <morning glory>는 나팔꽃의 실재를 의미하는 왜상(anamorphosis)적 이미지로 생성된 이미지를 수작업으로써 배면이 비춰지는 교직된 천의 형태에 그리진 한국화 형식의 쓰레드 페인팅으로 한 현대미술 추상 화다.

뉴욕에서 루이 최철주 1번째 개인전은 Yeomyeong Hall에서 개최되었다. 최철주의 쓰레드 페인딩으로 한 전시 작품은 화폭에 교차된 실로 된 천에 음영으로 한 형태와 천의 작은 구멍에서 비취는 반사광으로 한 비실재적 회화의 자리를 아나몰포시스 이미지로 넓힌 형상이다 그 형상의 의미는 나팔꽃과 마주했던 풍습적 보편성의 실재를 교직된 천의 공간빛의 색깔로 꾸며진 타자의 욕망을 구조화 한 것이다.

따라서 쓰레드 페인팅의 구조화는 나팔꽃의 정해진 자리에서 발묵적 구조의 존재, 즉 순간적인 시간성의 일치에 의존하는 나팔꽃의 자리다. 그 자리는 나팔꽃의 이미지를 천속에 만들어서 교직된 천의 이미지를 가역적인 빛의 음영으로 확장한다. 그리고 그 자리에 시간성으로 변형된 평면적 나팔꽃과 대기를 묘사한다.

그 자리에 여러개의 방향으로 조명하여서 지난 시간의 존재했던 형상을 무의식적 형상으로 되돌려서 실재의 형상에 가역된 이미지를 하나의 시간성에 따라 중첩하지 못하고 통합된 의미로 중첩한다.

아나몰포시스 이미지(anamorphosis image)로 한 오브제ɑ는 라캉의 회화적 이미지가 비재현적 이미지라고 가정할 때 실재는 상사적으로 실재를 재현한 가상적 이미지에서 존재한다.

라캉의 오브제ɑ는 특히 형태적 구조에서 양감과 그림자를 소거함으로써 물리적 구조를 명확하게 드러낸다. 이것은 보이지 않는 ‘응시’로써 오브제를 분석하는 것으로 시각적 재현의 형태를 다른 시점에서 오브제의 것과 그 오브제를 인식적 재현의 형태로 본다.

피카소 그림의 아나몰포시스 이미지(anamorphosis image)로서의 오브제는 라캉의 오브제ɑ와 동일하게 응시로써 보이는 왜상(歪像)적 이미지다. 이것은 라캉의 오브제ɑ로서의 왜상적 이미지와도 무관하지 않다. 라캉의 오브제ɑ는 회화의 비실재적 시각 이미지의 차원을 넘어선다. 이것은 선에서부터 드러난 형태의 아나몰포시스 이미지는 시간의 순간적 시점에서 구성된 것으로써 시간성과 존재성을 갖는다. 그것은 평면이든 입체든 무관한 응시영역으로한 라캉 이론체계에서 타자의 욕망으로 생성된 이미지이기 때문이다.

따라서 선으로 집적된 아나몰포시스 이미지를 택함으로써 원근법적 밀도와 하나의 광원적 시점에서 형성되는 양감은 존재하지 않는다. 여기서 오브제는 콜라주처럼 부분적인 이미지들이 동일한 시간에 드러난 왜상적 형태로써 공간에 존재한 것임을 말한다.

그러나 형상은 의미로 보이지 않고 순간적으로 가역된 여러개의 음영색으로 이미지 배경의 자리를 맴돈다. 이것은 시간성의 자리 즉 하늘 이미지가 구름과 비 그리고 눈으로 보이는 것처럼 시간의 하나의 순간에 시간의 정한 빛의 자극으로 보이는 형상이 다른 이미지다. 이것은 그 빛이 시간성의 경과로 이루어낸 무한하고 연속되는 존재의 자리다.

그것은 구체가 공존하는 추상적 현상이 현존하는 가역된 시각적 구조다. 화가가 그림을 그릴때 이미지를 의미적 인식을 얻어내는 그 이미지에 대한 시간성의 구조다.

따라서 시각적 가역반응(visual reversible reaction)은 화가가 여러가지의 색으로 중첩하여 검은색이 되거나 빛이 가려진 시간성의 결과 즉 나팔꽃과 항시적인 본체로서의 그 자리가 공존하는 <나팔꽃>은 나팔꽃 자리의 시각적 가역반응에 따른 순간적인 구조의 이미지다.

그 이미지는 일상의 음영적 형상이 지난 시간의 나팔꽃과 교차한 순간에 자리했던 타자의 이미지가 천으로 구조된 풍경이다.

이렇게 꾸며진 형상의 빛과 대비되는 어두운 여백의 공간은 주재(駐在)로 만들어낸 그림자다. 여기서 실제의 대상적 존재로서 색깔은 응시로 보이는 풍교된 풍습의 단상적 이미지다. 이것은 그 의미는 모방한 꽃을 상징하는 기호적 언어로서 <나팔꽃>은 라캉적 의미의 결과로써 비실재 공간에 기호화된 타자의 욕망을 존재로서의 은폐된 미적 구조다. 그리고 라캉적 의미로서 오브제ɑ의 조각이다.

Korean contemporary art abstract artist Louis Choi Chul-joo <morning glory> is a contemporary art abstract painting in the form of Korean painting drawn in the form of a teaching cloth whose rear surface is reflected by hand with an image created from an anamorphosis image meaning the reality of morning glory.

In New York, Louis Choi Chul-joo's first solo exhibition was held at Yeomyeong Hall. Choi Chul-joo's thread-painting exhibition is a shaded form on a fabric made of thread intersecting the canvas, and an anamorphosis image of a non-realistic painting with jade reflected light from a small hole in the fabric. The meaning of the shape is to structure the desire of the other, decorated with the spatial colors of the taught fabric, the reality of the customary universality facing the morning glory.

Therefore, the structure of thread (structural fabric) painting is the place of the morning glory that depends on the existence of an ink repellent structure at the specified spot of the morning glory, that is, a momentary agreement of temporality. The spot creates an image of an morning glory in the sky and expands the image of the taught cloth into reversible shades of light. It depicts a flat morning glory and the atmosphere transformed into temporality in that spot.

The image reversible to the actual shape is not superimposed according to a single temporality, but is superimposed in an integrated meaning by illuminating it in several directions and returning the previous time's existing shape to the unconscious shape.

Assuming that Lacan's pictorial image is a non-reproducible image, the object ɑ as an anamorphosis image exists in a virtual image that reproduces reality in a similar way.

The object as an anamorphosis image in Picasso's painting is a dwarf image that is seen as a gaze, just like Lacan's object ɑ. This is not irrelevant to Lacan's dwarf image as an object ɑ. Lacan's object ɑ goes beyond the dimension of non-realistic visual images of painting. This is because the anamorphosis image in the form revealed from the line is composed at the momentary point of time and has temporality and existence. This is because it is an image created by the desire of the other in the Lacan theoretical system, which is an irrelevant gaze area, whether flat or three-dimensional.

Therefore, by choosing an anamorphosis image integrated with lines, there is no sense of perspective density and one light source viewpoint. Here, the object refers to the existence of partial images in space as a dwarf shape revealed at the same time.

However, the image's position in the image background is not visible in meaning but with several instantly reversible shading colors. This image is different in shape from the place of time, that is, the sky image, as seen by clouds, rain, and the eyes, as a stimulus of light that is defined by time at one moment in time. This is the place of infinite and continuous existence that light has achieved through the passage of time.

It is a reversible visual structure in which an abstract phenomenon in which sphere coexists exists. It is a structure of temporality for the image that acquires semantic recognition of the image when the artist paints.

Therefore, visual reversible reaction is an image of a momentary structure according to the visual reversible reaction of the morning glory, in which the artist overlaps with various colors to become black or is obscured by light.

The image is a landscape in which the image of the other, which was located at the moment when the shaded shape of daily life intersected with the morning glory of the past, is structured with cloth.

In contrast to the light of the decorated shape, the dark blank space is a shadow created by the main. Here, as a real object being, color is a single-phase image of educated customs that appear to be a gaze. This is a symbolic language that symbolizes an imitated flower, and "morning glory" is a hidden aesthetic structure as a result of the Lacan meaning of the desire of the other symbolized in the non-real space. And as a Lacan meaning, it is a piece of object ɑ.

Louis Chul-joo Choi, morning glory 2021-k-0, 136X168cm, acrylic and composite materials on cloth, 2021

Louis Chul-joo Choi, morning glory 2021-g-1, 135X167cm, acrylic and composite materials on cloth, 2021

<morning glory 2021-g-1>는 그 숨은 의미 그대로 삶의 공간과 나팔꽃을 든 닭과 병아리를 풍경 속에 함께 담아내 가족의 존재를 드러낸다. 가족의 현상적 가치를 보이는 실재로서 <morning glory 2021-g-1>은 즉 환영적 비실재를 없애고 사유를 통한 의미의 실재성를 그려낸다.

상징계에서의 회화는 오브제에 대한 계속된 상징적 존재일 뿐이다. 그 존재를 라캉은 초월적 기표(Signifiant)라고 한다.

그러나 <morning glory 2021-g-1>은 상징계의 영역에서 분리된 영역인 실재로서 가족의 의미를 은유적으로 표현한다. 그 표현하려는 오브제를 보이지 않고 은폐로서의 가족의 실제적 의미를 닭과 병아리에 비유한다. 즉 보이지 않는 은폐는 상징으로써 의미와 비유하는 상징적 형상은 만든다. 하지만 프로이트의 무의식적 표현은 정신분석학적 해석을 통해 라캉 이론 체계에서 상징적 타인의 욕망과 비교될 수 있다. 여기서 상징적 타인의 욕망은 프로이트의 무의식 속에 있는 상징적 세계와 라캉 특유의 이미지의 언어적 의미라는 범주에서 확인됩니다.

따라서 라캉의 은폐된 실재 이미지의 의미는 무의식적 구조다. 보이지 않는 가족의 실재로서 <morning glory 2021-g-1>에서는 볼 수 없는 가족의 실재를 이해함으로써 라캉의 그림에서 상대방의 욕망의 존재를 상징하는 이미지의 의미를 찾을 수 있다.

"Morning glory 2021-g-1" reveals the existence of a family by capturing the space of life and chickens and chicks with morning glory in the landscape as it is. As a reality showing the phenomenal value of the family, "Morning glory 2021-g-1" removes the welcoming non-reality and portrays the reality of meaning through thought.

Painting in the symbolic world is just a continuing symbolic existence for objects. Lacan's existence is called a transcendental signifier.

However, "morning glory 2021-g-1" metaphorically expresses the meaning of family as reality, an area separated from the realm of the symbolic world. It compares the actual meaning of the family as a concealment to chickens and chicks without showing the object to be expressed. In other words, invisible concealment creates a symbolic shape that compares with meaning as a symbol. However, Freud's unconscious expression‎ can be compared with the desires of others symbolically in the Lacan theoretical system through psychoanalytic interpretation. Here, the desire of others is confirmed in the category of the symbolic world in Freud's unconscious and the linguistic meaning of Lacan's unique image.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Choi Chul-joo’s desire formula,

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

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

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

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

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

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

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

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

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

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

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

■ 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.

■ 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

� 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.

- “The Visual Grammar of Desire and the Image-Expansion of Linguistic Meaning in Louis Choi Chuljoo’s Morning Glory”: Louis Choi Chuljoo’s Morning Glory (2025-1: Pond Rendering Reflects Current Desire) operates not as a representational depiction of reality but as a cognitive visual apparatus that transforms the visualization of absence into a site for the philosophical contemplation of desire, wherein abstraction functions not as a formal negation but as an epistemological structure that converts the disjunction between language and image into the generative principle of desire; in this work, where language fails to stabilize meaning, the image intervenes as the substitute for that linguistic insufficiency, visually articulating the movement of desire through its compositional grammar—through chromatic contrast, reflective inversions, and spatial ruptures—thus extending the semantic field of language into a visual syntax that materializes cognition; the inverted human figure mirrored beneath the pond, the symbolic red stems, and the deep blue spatial abyss together construct a field in which the absence of the Real does not signify emptiness but instead becomes the very motor of desire, producing what may be called a substitutive realism, a mode in which abstraction replaces the absent Real and, paradoxically, reveals its cognitive structure more profoundly than direct representation could; within this process, language’s failure to fix meaning is transfigured into an event of vision, wherein the spectator, recognizing simultaneously the negation of the linguistic and the reflection of the visual, experiences perception not as mere sensory reception but as a philosophical event operating within the cognitive structure of lack; thus, Morning Glory realizes Choi’s concept of reversible illumination, in which language and image illuminate one another reciprocally, generating meaning through their mutual reflections, while this continual slippage and rotation of meaning around the axis of absence constitutes a visual grammar of desire that transforms the absence of the Real into a cognitive syntax of symbolic production; consequently, abstraction here extends beyond the denial of representation to become a philosophical device for the contemplation of lack, providing empirical validation for Choi’s Art Theory of the Structure of Desire and demonstrating that art does not mirror the Real but instead reflects the structure of its absence, reconstructing perceptual reality through the visual logic of desire; ultimately, Morning Glory stands as an exemplary philosophical construct in which linguistic meaning expands into visual form, showing that abstraction can serve as a medium of cognitive realism wherein the image substitutes for the Real and allows the subject to think, rather than merely to see, through the aesthetic experience of desire and lack.

■ Conceptual Abstract Realism Abstraction Rendering is a philosophical design process that automatically visualizes the concept of desire through the "art algorithm" of conceptual abstract realist Louis Choi Chul-joo, and it renders conceptual abstraction sketches manually as a pre-stage of systematization that combines with AI to create conceptual abstract art. This is not a simple image generation of an art algorithm, but a method of automatically converting philosophical concepts into visual images by interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible shades of light into mathematical and symbolic structures to suggest the possibility of fusion with AI. In addition, AI-based conceptual art creation system Louis Choi Chul-joo's philosophical art theory can be algorithmized to build a system that autonomously generates conceptual art. It expands to digital installation art where images change in real time due to the movement of viewers of interactive media installation work, and develops into a spatio-temporal art algorithm so that you can experience the structure of desire to realize VR/AR-based desire space in a virtual space. Therefore, Choi Chul-joo's conceptual abstraction rendering is an art creation engine that combines concept, language, design, psychology, philosophy, and technology as a tool for visualizing his art algorithm, and expands Choi's conceptual abstract realism art into the core structure of digital art.

■ Conceptual Abstract Realist The process of rendering a Realist abstraction in art is as follows

1.Conceptual Abstractionist Abstraction Sketch reproduces a conceptual abstraction image to form an abstract image as a conceptual object in the form of ideological non-formality, which hides its existence and sketches realistic images on a plane as realistic structures. This is the introduction stage of a philosophical design process that automatically visualizes the concept of desire through Choi Chul-joo's 'art algorithm', which combines manual work and AI to create sketches of conceptual abstraction. In other words, in parallel with the scotch of contemporary art, a sketch of conceptual abstraction realism as a pre-stage of AI systemization is done manually. Here, abstraction as a symbolic structure is an image with the existential concept of a realist object with creativity and autonomy in a linguistic sense that reproduces in similar colors and sizes even though the sketch is different from the actual structure. Therefore, the abstract realist abstract sketch of an existential concept with creativity and autonomy in a linguistic sense consists of a sketch of another being as a linguistic meaning of a conceptual abstract realist object through the unconsciousness suppressed by the desire of the other.

2. Conceptual Abstractism Abstract rendering (R) is a phenomenal opportunity to verbally interpret the conditions (i/d) under which images of conceptual abstract realism objects are realized by conceptualizing abstract objects specified in Choi's Desire Formula and grammatically interpreting linguistic meanings beyond the other's desires. This is an abstract design process that automatically converts philosophical abstraction into visual images by grammatically interpreting Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades into mathematical and symbolic structures to present the possibility of convergence of realist abstract rendering and AI rendering as object rendering at the same time.

When the conceptual abstraction as the subject of desire is transferred to a realism image, the subject of desire asks itself what the abstract structure wants and renders (r) a specific object to the actual image of the abstract concept, so that the conceptual abstract realism image as a reality reaches abstract rendering <DR(I...I')d=I(DR...D'i)ir>. It renders as an image the meaning of symbolic action that characterizes the design rendering of the object seat as a realism image, which combines pieces of distorted morning glory image repeatedly during the abstraction process. Here, image rendering is not a visual phenomenon of an object, but a method of visualizing the flow of unconsciousness and the realism image of symbols.

3 Realism Abstraction Composition is a form of abstraction of real objects, a structure of the other that represents a synchronic semantic chain, and a vector representing the orientation of the non-realistic existential subject entering the symbolic world, and abstracts the image by defining the concept of an existential image that is alienated from the desire image that lacks a realistic structure. This abstract image creates a realism image of an art algorithm with a desire structure

In order to present the possibility of convergence with AI, Choi Chul-joo's desire theory, linguistic semantic structure, and reversible light shades are automatically converted into realistic images.

The realist abstraction of conceptual abstraction as an existential subject is revealed through division, which expresses the essence of ex post fact in a comprehensive and immediate way of solving an image with a different linguistic meaning as a semantic structure that cannot be expressed as a real object.

Thus, realism abstraction of desire structures subconsciously selects unpredictable effect image rules as ordered vectors that indicate directions toward solving non-imaginary semantic structures in a comprehensive and immediate way as a whole step in linguistic meaning, such as representation abstraction.

This is a semantic structure that cannot be solved as a being until the abstract structure enters the symbolic world, abstracting desire knots into a synchronous meaning and physically dividing the same essence as the ex post essence that constitutes the abstraction of conceptual realism as an existential subject.

4. Conceptual Abstract Realism Abstraction Design designs objects as a reversible light structure that deviates from the concept of instantaneous desire from abstract images that connect realism images into allegories in linguistic terms as sketches of linguistic meaning structures to desire structures as objects formed from each other's abstract perspectives as reality and virtual beings.

Pre-stage abstraction of linguistic meaning is developed as a pictorial linguistic structure in which the object moves in the position of the object abstracted by reversible temporality and in the position of the morning glory illuminated by the divided retroactive light.

The movement of the object is linked to temporality as a sign of necessity self-consciousness, reveals the sensory structure before the symbol translated into pictorial language, and becomes an abstract space that functions as a formative reality beyond the literary nature of early conceptual art.

AI rendering of realism abstraction is an abstraction that implements an AI system that autonomously generates realism abstraction by algorithmizing the desire formula that applies Louis Choi Chul-joo's desire concept as an "art algorithm" through an AI-based conceptual art generation system.

Reversible light is a limited shade form, and it is expanded to digital installation art in which images change in real time through the movement of viewers through interactive media installation work tailored to the perspective objectivity of the real structure. This place is directed according to a spatio-temporal art algorithm so that you can experience the structure of desire to realize VR/AR-based desire space in a virtual space.

On the other hand, perspective objectivity in the spatial structure of abstraction in conceptual abstract reality renders the abstraction of the real image of the object contrasted with the object as the range of space and the size of the perspective, where the realist image is superimposed on the surface as another gaze structure.

5. Conceptual Abstract Realism The design rendering is an aesthetic desire structure in which an abstract realist object, which is an image-structured in a linguistic sense, is revealed as a point of light to the eyes of others, and is revealed in the gaze system of desire.

Aesthetic abstraction is designed as a philosophical device, and the abstract structure and the real image are rendered as an image of an existential realism object that appears in the same meaning. This is an image rendering method that represents abstract design as a tangent line of a flat cross-section and unconscious existence as a non-perspective visual structure.

Therefore, Choi Chul-joo's rendering of conceptual abstract realism is a tool that visualizes his desire formula as an art algorithm, and concept, language, design, psychology, and philosophical realism abstraction are designed. This place expands Choi's conceptual abstract reality art, which is an art creation engine that combines AI technology, into the core structure of digital art.

The realism abstraction structure is interpreted as a mirror image reflecting the desire of the other, and it is connected to the concept that the viewer is being stared at at at the same time, and the image of the linguistic meaning of conceptual abstraction realism abstraction is structured by rendering the optical realism space that varies depending on the viewer's position as the gaze of the object. The rendering matches the perspective of realist space with the abstract linguistic meaning of the object, and from the conceptual point of view of desire, an abstract and invisible object appears as a gaze path according to temporality. Abstraction as a realist image is an abstract real image that is transformed into a realist image as an art algorithm as an abstract with a desire structure. This is because, as modern art, realist abstraction returns to abstraction, in which the abstract structure conceptually symbolized as a linguistic semantic structure is structured in reality by the shadow structure of the past that shines a reversible light in the present.

Thus, through the tension and harmony between aesthetic values, human desires, and linguistic semantic structures through artistic abstraction algorithms, the structure of desire and the aesthetic concept of reality are visualized as realism images, but abstract rendering implemented as a double object shows "the aesthetic trace of time."

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

Accordingly, the conceptual abstractive design process is

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

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

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

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

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

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

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

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

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

Linguistic Data Biology (Aesthetics of Error) Design Methodology Process

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

1. Psychoanalytic Correspondence

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

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

2. Step-by-Step Sound Design Process

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

Goal: Establish the auditory baseline of systemic control.

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

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

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

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

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

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

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

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

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

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

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

AI Desire Structure Automation System Design Process

Step 1: Linguistic Data Mining of unconscious language structure

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

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

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

- Exterior Design Concept: Organic Morphing

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

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

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

Step 2: Abstract Sketching of the Rack

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

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).

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개념추상 미래 디자인, 개념 미디어 아티스트 [3] Conceptual Media Artist Louis Choi Chul-joo (M

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