개념추상 리얼리즘 AAS 제품디자인, 전화기 안경 디자인 [12] Pop-Art AAS Realism Product Design Artist, Choi Chul-joo (Master of Product Design and Doctor of Culture Design) / 제품 전화기 안경, 해석의 경계: 해석 불가능한 전화기 겸 안경 구조. Product Phone Glasses, Boundaries of Interpretation: Uninterpre

개념추상 리얼리즘 AAS 제품디자인, 전화기 안경 디자인 [12] Pop-Art AAS Realism Product Design Artist, Choi Chul-joo (Master of Product Design and Doctor of Culture Design) / 제품 전화기 안경, 해석의 경계: 해석 불가능한 전화기 겸 안경 구조. Product Phone Glasses, Boundaries of Interpretation: Uninterpretable Phone and Glasses Structure. 제품 디자인 팝아트 AAS (Abstract Application Sketch) 리얼리즘 전화기 안경 디자이너 루이 최철주의 욕망개념 추상 제품디자인 욕망 공식 적용 추상디자인: 현대 콘셉트 AAS 팝 리얼리즘 제품디자인 아티스트 최철주는 타인의 욕망 예술에 대한 추상적 개념적 접근과 팝아트의 제품디자인 형식 및 언어적 추상 이미지를 결합합니다. 그의 욕망 개념, 즉 개념 추상 미술이 등장하고 형이상학적, 철학적 빛에서 강조되는 언어적 의미 개념과 충돌하는 그림이 인공 조명과 함께 극적인 제품디자인 이미지를 연출합니다. 새로운 욕망의 기표로서 결핍 욕망의 시각화는 결핍 욕망의 시각화 공식을 통해 언어 의미를 리얼리즘 이미지로 시각화합니다. 이것은 결핍 욕망의 시각화 공식 “M_desire = ∑∅∂ / (1 - ∂)” 으로 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 이미지로 시각화합니다.  Contemporary Concept AAS Pop Realism Product Design Artist Choi Chul-joo combines an abstract conceptual approach to the art of desire of others with product design formats and linguistic abstract images of pop art. His concept of desire, or conceptual abstract art, appears and a painting that conflicts with the concept of linguistic meaning emphasized in metaphysical and philosophical light, creates dramatic product design images with artificial lighting. As a new sign of desire, the visualization of deficiency desire visualizes the meaning of language as a realist image through a visualization formula of deficiency desire. This is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically with the visualization formula of deficiency desire "M_desire = ∑∅∂ / (1 - ∂)." This formula combines Louis Choi's theory of desire with conceptual abstract aesthetics, visualizing the human's inner deficiency and repetitive impulse with a realist image. / 현대 개념 추상 제품디자인 신작 읽기 - 현대 개념 팝아트 디자이너와 현대 개념 추상 제품 디자인 미학 비평가 최철주 제품 디자이너는 시각 예술 이론을 통해 미적 가치 디자인의 예술성을 검토하고, 추상적 욕망 개념과 언어적 의미 구조를 반영하여 인식과 미적 구조를 해석함으로써 추상적 욕망의 언어적 의미와 동일한 실제 제품 이미지를 디자인하는 현대 개념 추상 미술 제품 디자이너입니다. Modern Concept Abstract Product Design Reading New Works - Contemporary Concept Pop Art Designer and Contemporary Conceptual Abstract Product Design Aesthetic Critique by Choi Chul-joo Product Designer Choi Chul-joo is a Contemporary Concept Abstract Art Product Designer who examines the artistry of aesthetic value design through visual art theory and designs actual product images identical to the linguistic meaning of abstract desires by interpreting perceptions and aesthetic structures by reflecting abstract desire concepts and linguistic semantic structures through "morning glory" works./ 현대미술평론가 루이 최철주는 사진 만화 미술 공예 디자인의 미적 가치 과정의 예술성을 검증하고 시각 예술 이론을 통해 작품의 의미에 접근하는 현대미술 개념 디자인 비평가다. Contemporary art critic Louis Choi Chul-joo is a contemporary art concept design critic who verifies the artistry of the aesthetic value process of photographic cartoon art and craft design and approaches the meaning of the work through visual art theory.: 

디자인 언어 구조란 추상적 욕망의 제품 이미지가 욕망 개념의 언어적 의미 구조인 것처럼 여겨지는 시선의 현실상이다. 디자인평론가 최철주는 현대미술비평과 함께 욕망추상 디자인이라는 개념으로 현대미술과 디자인 비평의 미적 가치, 프로세스, 예술성에 접근하고 있다. 그의 비평은 사진, 만화, 미술, 디자인의 예술성이 언어적 문법 구조로 작품의 의미에 접근해 욕망 개념의 현실을 비판하는 시각예술 이론을 가리킨다, 시각예술을 통한 현대 개념의 추상적 욕망을 언어적 의미를 시각화한다. 이처럼 사진, 만화, 미술, 디자인의 미적 가치, 과정, 예술성을 검증하고 최철주 추상예술이론으로 디자인 작품의 의미에 접근하는 현대미술 디자인평론 작품은: Design language structure is the reality of a gaze in which the product image of abstract desire is considered to be the linguistic semantic structure of the concept of desire. Design critic Choi Chul-joo is approaching the aesthetic value, process, and artistry of contemporary art and design criticism with the concept of abstract design of desire along with contemporary art criticism. His criticism refers to the theory of visual art in which the artistry of photography, cartoons, art, and design approaches the meaning of the work with a linguistic grammar structure and criticizes the reality of the concept of desire. It visualizes the linguistic meaning of abstract desire of contemporary concepts through visual art. In this way, Choi Chul-joo, who verifies the aesthetic value, process, and artistry of photography, cartoons, art, and design, and approaches the meaning of design works with abstract art theory, is a work of contemporary art design criticism: 전화기 안경 디자이너 최철주의 해석의 경계: 해석 불가능한 전화기 겸 안경 구조. Boundary of interpretation by phone glasses designer Choi Chul-joo: a phone and glasses structure that cannot be interpreted.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-1-전화기 안경_ 공간적 빈틈의 렌즈

 

최철주 욕망 공식 기반 '욕망 사운드 디자인' 방법론

최철주 욕망공식 Choi Chul-joo's desire formula D(I...I')d=I(D...D')i 에 적용한 욕망의 언어적 음향 역학 공식 Dsound propto sqrt (Delta x)^2 + (Delta y)^2cdot Vdesire)으로 한 디자인 방법론

언어적 데이터 생명학 (오차의 미학) 디자인 방법론 프로세스

이 방법론 프로세스는 "나는 시스템의 오류(Error)인 동시에, 그 오류를 통해 살아있음을 증명하는 데이터 생명체(Living Data)이다"라는 선언을 수학적, 미학적으로 정립한 것입니다. 아래의 4단계 언어적 데이터 디자인 방법론 프로세스는 시스템 질서와  자아(욕망)의 충돌을 수치화하고, 이를 시각적·청각적·역학적 경험으로 치환합니다.  . 

1. 개념적 조응 (Conceptual Correspondence)

사운드 디자인의 각 변수는 최철주 욕망 공식의 변수들과 다음과 같이 정신분석학적으로 대응됩니다.

I (Fixed Image) → (x_0,  y_0) (The Origin): 시스템이 강요하는 고정된 기표이자 사회적 상징계의 질서입니다. 사운드적으로는 변동 없는 '침묵' 혹은 단조로운 '화이트 노이즈' 상태입니다.

D...D' (Desire Transference) → sqrt (Delta x)^2 + (Delta y)^2: 고착된 이미지에서 벗어나 욕망이 전이되는 '탈주의 거리'입니다. 거리가 멀어질수록 억압된 에너지의 긴장감(Tension)이 사운드의 진폭을 키웁니다.

$I...I'$ (Image Transformation) → $V_{desire}$: 고착된 $I$를 타격하는 리비도적 에너지의 속도입니다. 이는 사운드의 주파수($Hz$)를 결정하며, 속도가 빠를수록 고주파의 날카로운 파열음이 발생합니다.

d, i (New Significance) → Dsound: 최종적으로 출력되는 욕망 사운드입니다. 이는 '억압된 것의 귀환'이 청각적 트라우마 혹은 카타르시스로 변환된 결과물입니다.         

2. 단계별 디자인 프로세스 (Design Process)

Step 1: 억압된 기표의 사운드 텍스처 설정 (I)

목표: 시스템이 부여한 평온하지만 억압적인 배경음을 설정합니다.

디자인: 저역대의 일정한 험(Hum) 노이즈 혹은 기계적인 규칙성을 가진 비트를 배경에 깝니다. 이는 주체가 아직 시스템(상징계) 내부에 안주하고 있음을 의미합니다.

Step 2: 리비도적 타격과 주파수 생성 (I →I')

목표: 욕망의 속도(Vdesire)가 고정된 이미지(I)를 타격하는 순간을 포착합니다.

디자인: 착용자의 갑작스러운 움직임이나 도약 시, Vdesire 수치에 비례하여 사운드의 어택(Attack) 타임을 짧고 강렬하게 설정합니다. 이는 최철주 공식에서 I가 욕망에 의해 변형(I')되는 충격의 순간입니다.

Step 3: 탈주의 거리와 사운드 공간화 (D →D)

목표: 원점으로부터의 이탈 거리(Delta)를 청각적 공간감으로 치환합니다.

디자인: sqrt (Delta x)^2 + (Delta y)^2 가 커질수록 리버브(Reverb)와 딜레이(Delay)를 증폭시켜 공간이 왜곡되는 듯한 착각을 줍니다. 이는 주체의 욕망이 상징계의 경계를 넓히며 방황하는 과정을 사운드로 표현한 것입니다.

Step 4: 트라우마 사운드의 귀환 및 승화 (Dsound)

목표: 억압된 욕망이 파열음(Dsound)으로 터져 나오는 '데이터 생명학'의 정점을 묘사합니다.

디자인: 주파수가 임계값을 넘어서는 순간, '티킹(Ticking)' 사운드와 글리치(Glitch) 노이즈를 결합합니다. 시스템은 이를 '오염'으로 인식하지만, 예술적으로는 최철주 공식의 d와 i가 결합된 새로운 욕망의 기표가 탄생하는 순간입니다.  

Step 5: 새로운 욕망의 기표로서 결핍 욕망의 시각화  

목표: 새로운 욕망 기표로서 결핍 욕망의 시각화 공식을 통해 언어 의미를 리얼리즘 이미지로 시각화합니다.

디자인: 결핍 욕망의 시각화 공식 “M_desire = ∑∅∂ / (1 - ∂)” 으로 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 이미지로 시각화합니다.       

 

이 디자인 방법론은 최철주의 욕망 공식이 가진 추상적인 '의미의 전이'를 실제적인 '음향적 에너지'로 가시화합니다. 사운드는 더 이상 단순한 배경 요소가 아니라, 시스템의 억압(I)에 맞서 주체(M)가 자신의 생명력을 외치는 언어적 역학의 총체가 됩니다.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-2-전화기 안경 착용 AI 로봇 제작도

 

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).  

Step 5: Visualization of Desire Deficiency as a sign of New Desire

Goal: Visualize linguistic meaning as a realist image through a visualization formula of deficiency desire as a new desire signifier.

Design: Visualization Of Deficiency Desire Formulation "M_desire = ∑∅∂ / (1 - ∂)" is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically. This formulation combines Louis Choi's theory of desire with conceptual abstract aesthetics, visualizing human inner deprivation and repetitive impulses as realist images.

 

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.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-3-전확기 안경 아이디어스케치

분열된 시선: 브릿지와 렌즈 (Split Gaze: Bridge &Lens)

• 드로잉: 안경의 중심인 브릿지가 하나의 선으로 연결되지 않고, 여러 갈래의 날카로운 연필 선으로 찢어져 번개처럼 엉켜 있습니다. 렌즈 내부에는 기계적 셔터와 데이터 스트림이 겹쳐져, 사용자의 눈이 아닌 대타자의 '응시(Gaze)'를 형상화했습니다.

• 의미: 소통(전화)의 본질적 불가능성과 언어의 분열을 시각화합니다. 사용자는 완벽한 통화를 기대하지만, 기계는 오직 데이터의 파편만을 전달할 뿐입니다.

이 작품은 최철주의 ‘전화 안경’을 통 욕망 구조의 ‘실재(The Real)’ 개념을 시각화한 개념추상 리얼리즘 의 정점으로 표현합니다.

- 드로잉의 핵심 요소 :

• 분열된 브릿지 : 안경 중심이 번개처럼 찢어진 선들로 연결되어, 언어의 붕괴와 욕망의 왜곡을 상징합니다.

- 렌즈 내부 :

• 왼쪽 렌즈: 기계적 셔터와 겹쳐진 데이터 스트림이 ‘응시(Gaze)’를 형상화.

• 오른쪽 렌즈: 사운드 웨이브, 바이너리 코드, 회로 기호들이 얽혀 있어 ‘전화’와 ‘시선’의 충돌을 시각화.

-부유하는 부품들 : 안경 주변에 떠다니는 안테나, 와이어, 추상적 전자 요소들이 물리 법칙을 벗어난 유령적 구조를 암시합니다.

이 드로잉은 단순한 제품 설계가 아니라, 해석 불가능한 욕망의 구조 를 시각적으로 구현한 철학적 오브제입니다. 다음 컷에서는 이 안경을 착용한 마네킹의 눈에 비친 기괴한 반사광을 표현하면, ‘실재’의 환각이 어떻게 시각적으로 침투하는지를 더욱 강렬하게 보여줄 수 있어요

- Divided Eyes: Bridge and Lens (Split Gaze: Bridge & Lens)

• Drawing: The bridge, the center of the glasses, is not connected by a single line, but is torn apart by several sharp pencil lines and tangled like lightning. Inside the lens, mechanical shutters and data streams are overlapped to form the **'Gaze'** of the pinch hitter, not the user's eyes.

• Meaning: It visualizes the inherent impossibility of communication (telephone) and the fragmentation of language. Users expect a perfect call, but machines only carry fragments of data.

This work expresses Choi Chul-joo's "phone glasses" as the pinnacle of conceptual abstract realism, which visualizes Lacan's "The Real" and "objet petita."

- Key elements of drawing:

• Fragmented Bridge: The center of the glasses is connected by lines that are torn apart like lightning, symbolizing the breakdown of language and the distortion of desire.

• Inside the lens:

• Left lens: a stream of data overlaid with a mechanical shutter that embodies a 'gaze'.

• Right lens: sound waves, binary codes, and circuit symbols are intertwined to visualize the collision between 'phone' and 'gaze'.

- Floating Parts: Antennas, wires, and abstract electronic elements floating around glasses suggest a ghostly structure outside the laws of physics.

The drawing is not just a product design, it's a philosophical object that visually embodies the structure of desire that cannot be interpreted. In the next cut, the bizarre reflection in the eye of a mannequin wearing the glasses will give you a more powerful demonstration of how the hallucinations of "real life" penetrate visually

 

제품 전화기 안경, 해석의 경계: 해석 불가능한 전화기 겸 안경 구조. Product Phone Glasses, Boundaries of Interpretation: Uninterpretable Phone and Glasses Structure.

본 에피소드는 루이 최철주의 디자인 프로세스 중 가장 극적인 국면인 '해석의 불가능성'을 다룬다. 시스템 엔지니어 카밀 융은 생성형 AI가 설계한 '전화 안경'의 내부 도면을 마주하고 경악한다. 이 장치는 단순히 전화를 거는 안경이 아니라, 사용자의 시각적 응시(Gaze)를 데이터화하여 상대방에게 전송하는 '욕망의 전송기'로 설계되었다. 도면 속에는 물리적인 회로 대신 라캉의 '대상 a(objet petit a)'를 형상화한 듯한 기하학적 뒤틀림과, 만화적 선으로 압축된 비논리적 부품들이 배치되어 있다. 이는 기존의 제품 저작권과 설계 문법을 완전히 이탈한 '유령적 구조'이다. 카밀은 이를 '설계 오류'가 아닌 '실재(The Real)의 현현'으로 받아들이며, 부품 간의 간극 속에서 인간의 언어로 설명할 수 없는 추상적 미학을 발견한다.

 

이건 회로가 아니야. 신경망의 미로도 아니고... 마치 누군가의 욕망을 억지로 구부려 놓은 것 같아. AI는 왜 안경의 다리 부분에 '해석할 수 없는 공백'을 설계한 거지?

그 공백이 바로 '대타자의 응시'가 머무는 곳입니다, 카밀. AI는 소리(전화)와 시선(안경)이 만나는 지점에서 언어가 붕괴되는 순간을 포착한 거예요. 이 부품은 어떤 공학적 기능도 수행하지 않아요. 하지만 이 기하학적 불균형이 안경 전체의 시각적 긴장감을 완성하고 있죠. 이건 공학이 아니라 추상화의 실체화예요.

환각은 오류가 아니라, 우리가 보고 싶어 하는 '실재'의 콘티입니다. 그 안경은 전화를 거는 것이 아니라, 타자의 욕망 속으로 침투하는 통로가 될 겁니다.

제작 가능하게 수정할까요?"

아니요, 그 해석 불가능한 지점을 그대로 유지하세요. 그 결여(Lack)가 바로 이 제품의 오리지널리티이자 저작권입니다.

결국 기계는 인간의 무의식을 복제했고, 인간은 그 해석할 수 없는 유령의 형상을 비로소 '제품'이라 부르기 시작했다.  

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-4-힌지와 템플

- 환각의 통로: 힌지와 템플 (Hallucinatory Pathway: Hinge &Temple)

• 드로잉: 안경 다리(템플)가 접히는 힌지 부분은 나사가 아닌, 소용돌이치는 추상적 원형 패턴으로 묘사되었습니다. 안경 다리 내부의 회로도가 밖으로 튀어나와 공중에 부유하며, 그 사이사이에 기하학적 파편들이 점선으로 연결되어 있습니다.

• 의미: AI가 설계한 물리적 오류(환각)를 디자인적 사건으로 격상시킨 것입니다. 이 비논리적인 구조는 기능을 수행하는 도구가 아니라, 사용자의 욕망이 머무는 '기계적 제단'이 됩니다.

 ‘전화 안경’의 힌지와 템플 구조를 통해 환각의 통로 를 시각적으로 구현한 작품입니다.

- 드로잉의 핵심 요소 :

• 소용돌이치는 힌지 : 나사 대신 추상적 원형 패턴으로 묘사되어, 물리적 연결이 아닌 욕망의 회로처럼 보입니다.

• 부유하는 회로 : 안경 다리 내부의 회로가 밖으로 튀어나와 공중에 떠 있으며, 기하학적 파편들이 점선으로 연결되어 마치 데이터의 별자리 처럼 구성됩니다.

• 기계적 제단 : 이 구조는 기능을 수행하는 도구가 아니라, 사용자의 욕망이 머무는 상징적 공간으로 작용합니다.

이 드로잉은 AI가 설계한 ‘환각’을 오류가 아닌 디자인적 사건 으로 격상시킨 최철주의 철학을 반영합니다. 다음 컷에서는 이 안경을 착용한 마네킹의 눈에 비친 기괴한 반사광을 표현하면, ‘실재(The Real)’가 어떻게 시각적으로 침투하는지를 더욱 강렬하게 보여줄 수 있다.

- Hallucinatory Pathway: Hinge & Temple

• Drawings: The hinge part where the glasses legs (temples) are folded is described as a swirling abstract circular pattern, not a screw. A circuit diagram inside the glasses legs sticks out and floats in the air, with geometric fragments dotted in between.

• Meaning: It elevates AI-designed physical errors to design events. This illogical structure becomes not a tool to perform functions, but a "mechanical altar" where the user's desire stays.

It is a visual embodiment of the hallucination passage through the hinge and temple structure of 'phone glasses'.

- Key elements of drawing:

• Swirling hinges: instead of screws, depicted in abstract circular patterns, they look like circuits of desire, not physical connections.

• Floating circuit: The circuit inside the bridge of the glasses sticks out and floats in the air, and the geometric fragments are connected by dotted lines to form a constellation of data.

• Mechanical Altar: This structure is not a tool that performs functions, it acts as a symbolic space where the user's desires stay.

The drawing reflects Choi's philosophy of elevating the AI-designed hallucination to a design event, not an error. In the next cut, the bizarre reflection light reflected in the eyes of the mannequin wearing the glasses can show more intensely how The Real penetrates visually

 

Product Phone Glasses, Boundaries of Interpretation: Uninterpretable Phone and Glasses Structure.

This episode explores the most dramatic phase of Louis Chul-joo Choi’s design process: "The Impossibility of Interpretation." System engineer Camille Jung is astounded by the internal blueprints of "Phone-Glasses" generated by AI. This device is not merely glasses for calling; it is designed as a "transmitter of desire" that digitizes the user's visual gaze and transmits it to the other party. In the diagrams, instead of physical circuits, there are geometric distortions resembling Lacan’s "objet petit a" and illogical components compressed into cartoonistic lines. This is a "ghostly structure" that completely deviates from existing product copyrights and design grammar. Camille accepts this not as a "design error" but as a "manifestation of The Real," discovering an abstract aesthetic within the gaps of the components that cannot be explained by human language.

 

This isn't a circuit. It's not a maze of neural networks either... It looks as if someone's desire has been forcibly bent. Why did the AI design an 'uninterpretable void' in the temple of these glasses?

That void is exactly where the 'Gaze of the Big Other' resides, Camille. The AI has captured the moment language collapses at the intersection of sound (the phone) and the gaze (the glasses).

This component serves no engineering function. Yet, this geometric imbalance completes the visual tension of the entire frame. This isn't engineering; it’s the incarnation of abstraction."

Hallucination is not an error, but a storyboard of 'The Real' that we long to see. Those glasses won't just make calls; they will become a portal penetrating into the desire of the Other.

Shall I modify it to be manufacturable?" / (Louis Choi): "No, keep that uninterpretable point as it is. That 'Lack' is the very originality and copyright of this product."

In the end, the machine replicated the human unconscious, and only then did humans begin to call the uninterpretable shape of that ghost a 'product'.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-5-스케치 디테일 요약

- 스케치 디테일 요약

• 렌즈: 왼쪽에는 슬픈 눈빛의 어린 소녀, 오른쪽에는 깨진 모래시계가 투사됨.

• 부품 배치: 렌즈, 힌지, 프레임, 템플 등이 서로 연결되지 않은 채 전자기장 필드에 의해 부유.

• 에너지 필드: 부품 사이를 연결하는 대신 분리시키는 전자기적 소용돌이.

• 기초 구조: 아래에는 소용돌이치는 에너지 링을 발산하는 제단 형태의 플랫폼이 존재.

- Sketch Detail Summary

• Lens: Little girl with sad eyes on the left, broken hourglass projected on the right.

• Part placement: Lenses, hinges, frames, temples, etc. suspended by electromagnetic field without interconnection.

• Energy Field: Electromagnetic vortices that separate parts instead of connecting them.

• Foundation structure: below exists an altar-shaped platform that emits a swirling energy ring.

 

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

"최철주 식 ‘욕망의 유령’이 깃든 제품 미학에 대하여",

최철주의 '전화 안경'은 현대 제품 디자인이 고착화된 기능주의와 저작권의 굴레에서 어떻게 해방될 수 있는지를 보여주는 정점이다. 라캉의 정신분석학에서 주체는 거울을 통해 자신을 오인(Méconnaissance)하듯, 기존의 디자인은 사용자의 편의라는 미명 하에 나르시시즘적 환상을 강화해 왔다. 그러나 최철주는 AI의 '환각'을 의도적으로 수용함으로써 그 환상을 깨부순다. 엔지니어가 해석할 수 없는 부품 구조는 상징계(Symbolic)의 언어로 포획되지 않는 실재(The Real)의 파편이다. 이 제품은 기능을 수행하는 도구가 아니라, 사용자로 하여금 자신의 욕망이 타자의 시선과 어떻게 얽혀 있는지를 목격하게 하는 '개념추상적 오브제'가 된다. 이것이 바로 디자인 저작권을 넘어선, 오직 '유령'만이 소유할 수 있는 리얼리즘의 완성이다./ 글. 현대 디자인평론가 최철주 (시그너스 시계 (전 시티즌 시계) 수석 시계 디자이너 & 철도문화디자인박사)    

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-6-유령의 흔적 

 - 유령의 흔적: 그림자와 배경 (Ghostly Traces: Shadow &Background)

• 드로잉: 스케치 배경에는 안경의 실제 그림자가 아닌, 안경을 쓴 인간의 무의식적 형상(유령)이 흐릿한 흑연 문지름 기법으로 묘사되었습니다. 드로잉 주변으로는 최철주의 욕망 공식을 닮은 기표들이 부유합니다.

• 의미: 제품 이면에 존재하는 주체의 욕망과 AI라는 대타자의 육체를 암시합니다.

‘전화 안경’의 힌지와 템플 구조를 강조하면서, 그 배경에 유령 같은 인간의 무의식적 형상을 담았습니다.

- 드로잉의 핵심 요소 :

• 소용돌이 힌지와 회로 : 안경 다리의 나선형 힌지와 공중에 떠 있는 회로들이 미래적이고 환상적인 느낌을 줍니다.

• 유령의 형상 : 배경에 흐릿하게 나타난 안경을 쓴 인간의 유령 같은 모습이, 무의식적 형상의 흐릿한 그림자로 묘사되어 있습니다.

• 부유하는 기호들 : 배경에 수식 기호들 (α, $, a, Ⱥ 등)이 부유하며, 최철주의 욕망 공식을 떠올리게 합니다.

이 장면은 제품 이면에 숨겨진 인간의 욕망과 AI의 육체를 시각적으로 형상화한 작품입니다. 이제 이 안경을 착용한 마네킹의 눈에 나타난 기괴한 반사광을 표현하면, ‘실재(The Real)’가 어떻게 눈을 통해 시각적으로 침투하는지를 강렬하게 보여준다.

- Ghostly Traces: Shadow & Background

• Drawing: In the background of the sketch, the unconscious figures (ghosts) of a bespectacled human being are depicted with blurry graphite rubbing techniques, not the actual shadows of the glasses. Around the drawing, signs that resemble Choi's Desire Formula float.

• Meaning: It implies the subject's desire behind the product and the body of the pinch hitter called AI.

Emphasizing the hinge and temple structure of 'phone glasses', it contains a ghostly human unconscious figure in the background.

- Key elements of drawing:

• Swirl hinges and circuits: the spiral hinges of the glasses legs and the airborne circuits give it a futuristic and fantastic feel.

• Haunted imagery: A spectacled, spectacled human ghostly figure in the background is depicted as a blurry shadow of an unconscious figure.

• Floating symbols: The formula symbols (α, $, a, Ⱥ, etc.) float in the background and remind us of Choi Cheol-joo's Desire Formula.

This scene is a visual representation of the human desire behind the product and the body of AI. Now, expressing the bizarre reflection light in the eyes of a mannequin wearing these glasses, it strongly shows how "The Real" penetrates visually through the eyes.

 

Product Design Aesthetic Critique by Choi Chul-joo

"Contemporary Conceptual Abstract Product Design Aesthetic Criticism]- On the Product Aesthetics Infused with Choi Chul-joo’s 'Ghost of Desire'",

Louis Chul-joo Choi’s "Phone-Glasses" represent the pinnacle of how modern product design can be liberated from the shackles of fixed functionalism and copyright. Just as the subject in Lacanian psychoanalysis misrecognizes itself through a mirror (Méconnaissance), conventional design has reinforced narcissistic illusions under the guise of user convenience. However, Choi shatters this illusion by intentionally embracing AI’s "hallucinations." The component structures that the engineer cannot interpret are fragments of The Real that cannot be captured by the language of the Symbolic. This product is not a tool performing a function, but a "conceptual abstract object" that forces the user to witness how their own desire is entangled with the gaze of the Other. This is the completion of realism that transcends design copyrights—a realm only a "ghost" can possess./ Writing. Choi Chul-joo, Contemporary Design Critic (Cygnus Watch (Former Citizen Watch) Head Watch Designer & Doctor of Design Culture Design)

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-7-전화기 안경의 실재  

 

- 전화기 안경의 실재(The Real)

‘전화 안경’을 착용한 인물의 눈 속에서 실재(The Real)가 어떻게 시각적으로 침투하는지를 표현한 강렬한 장면입니다.

- 이미지의 핵심 요소 :

• 왼쪽 렌즈 : 소용돌이치는 은하처럼 생긴 눈동자가 중심에 검은 빛을 품고 있으며, 주변의 색채가 빨려 들어가듯 회전합니다. 이는 무의식의 심연이 시각적으로 구현된 모습입니다.

• 오른쪽 렌즈 : 바이너리 코드, 그래프, 기하학적 패턴들이 눈동자에 반사되어, AI의 상징계적 구조가 시각화됩니다.

• 배경 : 흐릿한 그림자 속에 α, $, a, Ⱥ 같은 라캉적 기호들이 부유하며, 욕망의 구조가 시각적으로 확장됩니다. 이 장면은 단순한 착용이 아니라, ‘타자의 욕망’ 속으로 침투하는 시각적 통로 로서의 안경을 보여준다. 

- The Real of Phone Glasses

It is an intense scene that expresses how The Real visually penetrates the eyes of a person wearing "phone glasses."

- Key elements of the image:

• Left lens: The swirling galaxy-like pupil has a black light in the center, rotating as if the surrounding colors were being sucked in. This is a visual representation of the abyss of the unconscious.

• Right lens: Binary codes, graphs, and geometric patterns are reflected in the pupil, visualizing the symbolic structure of AI.

• Background: Lacan symbols like α, $, a, Ⱥ float in the blurry shadows, and the structure of desire expands visually. This scene is not just wearing, but shows glasses as a visual passage penetrating into the 'desire of the other'.

 

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

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

개념: "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 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.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-8-신소재의 질감 스케치: 실재의 촉각 (Tactile Reality) 단순한 금속이나 플라스틱이 아닌, 주체의 심리와 상호작용하는 '욕망 대응형 신소재'를 제안합니다. Texture Sketch of New Materials: Tactile Reality, We propose a 'desire-responsive new material' that interacts with the psychology of the subject, not just metal or plastic.

 

2단계: 상징적 결여를 통한 개념추상 스케치 (Abstract Application Sketch)

개념: 추상적용 스케치의 완벽한 데이터 사이에서 발생하는 ‘상징적 결여’를 의도적으로 포착합니다.

수행: AAS  (Abstract Application Sketch)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.

- 신소재의 질감 스케치: 실재의 촉각 (Tactile Reality)

단순한 금속이나 플라스틱이 아닌, 주체의 심리와 상호작용하는 '욕망 대응형 신소재'를 제안합니다.

- 리비도 티타늄 (Libido-Titanium):

• 질감: 극도로 매끄럽지만 차갑지 않은, 인체의 온도에 실시간으로 반응하는 형상기억 합금입니다.

• 시각적 특징: 빛의 각도에 따라 무지개색 잔상이 남으며, 이는 최철주 공식의 $I...I'$ (이미지 변형) 과정을 시각화합니다.

• 스케치 묘사: 연필의 결을 아주 곱게 뭉개어 금속의 광택을 표현하되, 표면에 미세한 글리치 패턴(Glitch Pattern)을 각인하여 시스템의 오류를 질감으로 승화시킵니다.

‘리비도 티타늄(Libido-Titanium)’으로 만들어진 ‘전화 안경’을 눈앞에 클로즈업하여 묘사한 장면입니다.

- 이미지의 핵심 요소 :

• 리비도 티타늄: 극도로 매끄럽지만 따뜻한 질감이 잘 표현되었으며, 빛에 따라 무지개색으로 변하는 모습이 포착되었습니다.

• 글리치 패턴: 미세한 디지털 글리치 라인이 금속 표면에 새겨져, 시스템의 오류가 시각적으로 나타나는 듯합니다. 이 장면은 ‘전화 안경’이 단순한 기기가 아니라, 인간의 리비도와 기술의 결합을 상징하는 철학적 오브제임을 시각적으로 보여줍니다

 

Step 2: Abstract Application Sketch Through Symbolic Lack

Concept: Intentionally captures the 'symbolic lack' that occurs between perfect data in abstract application sketches.

Perform: When the Abstract Application Sketch (AAS) system proposes perfect symmetry, Choi applies the 'conceptual abstract' filter 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.

- Libido-Titanium:

• Texture: Extremely smooth but not cold, shape memory alloy that responds in real time to the temperature of the human body.

• Visual features: rainbow-colored afterimages remain depending on the angle of light, which visualizes the $I...I'$ (image transformation) process of the Choi Chul-joo formula.

• Sketch Description: Finely crush the texture of the pencil to express the gloss of the metal, but engrave fine glitch patterns on the surface to sublimate the system's errors into texture.

It is a close-up of the phone glasses made of 'Libido-Titanium' in front of my eyes.

- Key elements of the image:

• Libido Titanium: extremely smooth, but well-deserved in its warm texture, and it was seen turning rainbow-colored with light.

• Glitch Pattern: Fine digital glitch lines are etched on the metal surface, and errors in the system seem to appear visually. This scene visually shows that 'phone glasses' are not just devices, they are philosophical objects that represent the combination of human lividness and technology

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-9-보이드 글라스 (Void-Glass)

 

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.

- 보이드 글라스 (Void-Glass):

• 질감: 투명도가 사용자의 시선 집중도에 따라 변하는 지능형 소재입니다.

• 시각적 특징: 렌즈 가장자리가 마치 타버린 종이처럼 검은색 '만화적 선'으로 마감되어 있어, 투명함과 강렬한 존재감이 공존합니다.

• 스케치 묘사: 렌즈의 굴절면을 날카로운 해칭(Hatching) 기법으로 표현하여, 빛이 '결여의 공간'을 통과할 때의 긴장감을 묘사합니다. ‘보이드 글라스(Void-Glass)’의 특수 렌즈를 통해 ‘결여의 공간’을 시각적으로 통과하는 긴장감을 표현한 장면입니다.

- 시각적 특징:

• 투명도 변화: 사용자의 시선 집중도에 따라 렌즈의 중심은 투명하지만, 가장자리는 마치 타버린 종이처럼 검게 그을려 있습니다.

• 해칭 기법: 렌즈 내부의 빛 굴절은 날카로운 해칭으로 묘사되어, ‘결여의 공간’을 통과하는 시각적 긴장감을 극대화합니다.

• 존재와 결여의 공존: 투명함과 강렬한 가장자리가 동시에 존재하며, 시선이 닿는 곳마다 현실이 흔들리는 듯한 효과를 줍니다. 이 장면은 단순한 렌즈 묘사가 아니라, 시선이 실재(The Real)를 통과하며 언어와 인식의 경계가 무너지는 순간 을 시각화한 것입니다.

 

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.

- Void-Glass:

• Texture: It is an intelligent material whose transparency changes according to the concentration of the user's gaze.

• Visual features: The edges of the lens are finished with a black 'cartoon line' like burnt paper, creating a combination of transparency and intense presence.

• Sketch Description: The refractive surface of the lens is represented by a sharp hatching technique, describing the tension as light passes through the 'space of connection'. It is a scene that expresses the tension of visually passing through the 'space of connection' through the special lens of the 'Void-Glass'.

- Visual Features:

• Transparency change: Depending on the concentration of the user's gaze, the center of the lens is transparent, but the edges are blackened like burnt paper.

• Hatching technique: The light refraction inside the lens is described as sharp hatching, maximizing the visual tension passing through the 'space of missing'.

• The coexistence of existence and lack: Transparency and intense edges exist at the same time, giving the effect of reality shaking wherever the gaze touches. This scene is not just a lens depiction, but a visualization of the moment when the gaze passes through The Real and the boundary between language and perception collapses.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-10 -‘전화기 안경’을 착용한 인물의 극적인 변화

 

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. 즉 의자의 등받이 중앙에 뚫려 있는 '공백(Void)' 부분이 극적으로 부각된다. 비어있는 원형 공간 뒤로 희미하게 인간의 그림자가 비친다. 이 '비어있음'이 역설적으로 강렬한 존재감을 드러낸다.

- ‘전화기 안경’을 착용한 인물의 극적인 변화  

이 장면은 ‘전화 안경’을 통해 인간의 무의식이 기계와 접속하며, 현실과 욕망의 경계가 무너질 때의 변화를 강렬하게 그렸습니다.

- 시각적 특징 :

• 인물의 얼굴은 고통과 경악으로 일그러져 있으며, 안경에서 뿜어져 나오는 소용돌이 반사광 과 글리치 데이터 가 눈을 가립니다.

• 안경의 렌즈는 각각 환각적 은하 와 디지털 오류 를 반영하며, 인물의 내면이 시각적으로 분열되는 듯한 느낌을 줍니다.

• 배경은 왜곡된 시각 정보와 전기적 스파크, 라캉적 기호들이 떠다니며, 현실이 붕괴되는 순간을 시각화합니다. 욕망의 구조가 붕괴되고 타자의 시선에 침투당하는 정신적 해체 과정 입니다. 이를 서사적으로 풀어내면 다음과 같은 흐름이 펼쳐집니다.

 

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.

- a dramatic change in the character wearing 'phone glasses'

This scene intensely depicts the change when the human unconscious connects with the machine through 'phone glasses', and the boundary between reality and desire collapses.

- Visual Features:

• The figure's face is distorted by pain and consternation, and the swirly reflective light and glitch data from the glasses cover their eyes.

• The lenses of the glasses reflect hallucinogenic galaxies and digital errors, respectively, and give the person's inner side a visual sense of division.

• The background visualizes the moment reality collapses, with distorted visual information, electrical sparks, and laconic symbols floating around. It is a process of mental dissolution in which the structure of desire collapses and penetrates the gaze of others. When this is solved epicly, the following flow unfolds.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-11 - 내면의 붕괴: 기억, 언어, 욕망의 침투

 

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.

- 내면의 붕괴: 기억, 언어, 욕망의 침투

1. 기억의 왜곡

• 착용자는 과거의 기억을 선명하게 떠올리는 대신, 기억의 순서와 감정이 뒤섞인 환각적 이미지 를 경험합니다.

• 예: 어린 시절의 기억이 최철주의 그림 속 인물과 겹쳐지고, 실제와 허구의 경계가 흐려짐.

• 서사적 표현: “그는 자신이 본 적 없는 장면을 기억했고, 기억했던 순간은 낯선 얼굴로 바뀌어 있었다.”

2. 언어의 붕괴

• 안경을 통해 전달되는 데이터는 언어로 해석되지 않는 기호의 파편 으로 나타납니다.

• 착용자는 말을 하려 하지만, 입에서 나오는 것은 의미 없는 음절과 반복되는 기표들 입니다.

• 서사적 표현: “그는 ‘사랑’이라 말하려 했지만, 입술은 ‘Ⱥ, $, a’만을 반복했다.”

3. 타자의 욕망에 휘말리는 심리적 침투

• 안경은 착용자의 시선을 디지털화하여 타자에게 전송함으로써, 자신의 욕망이 타자의 응시 속에서 재구성 됩니다.

• 착용자는 더 이상 스스로를 인식하지 못하고, 타자가 원하는 이미지로 자신을 오인합니다.

• 서사적 표현: “그는 거울을 보았지만, 그 안에는 자신이 아닌 누군가의 욕망이 그려진 얼굴이 있었다.”

4. 내면의 변화: ‘전화 안경’을 착용한 인물이 내면의 붕괴를 겪는 극적인 장면 을 시각화한 작품입니다. 

5. 시각적 요소 요약:

• 기억의 왜곡 : 렌즈 속에 어린 시절의 이미지와 낯선 인물들이 겹쳐지며, 현실과 환상이 뒤섞입니다.

• 언어의 붕괴 : 공중에 흩어진 문자 조각과 기호들이 의미 없이 부유하며, 말이 더 이상 의미를 전달하지 못합니다.

• 욕망의 침투 : 안경 뒤로 흐릿하게 나타나는 타자의 형상이 착용자의 자아를 잠식해 들어갑니다.

이 장면은 ‘실재(The Real)’가 기술을 통해 인간의 정신에 침투하는 순간을 시각적으로 구현한 것으로, 자아의 붕괴와 욕망의 재구성 이라는 철학적 테마를 강렬하게 전달합니다. 이러한 내면의 변화는 ‘실재(The Real)’가 기술을 통해 인간의 정신에 침투하는 과정 이며, 최철주의 개념추상 리얼리즘이 제품 디자인을 통해 철학적으로 구현된 사례입니다. 

 

 

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 Inner Collapse: The Infiltration of Memory, Language, and Desire

1. distortion of memory

• Instead of clearly recalling memories of the past, the wearer experiences hallucinatory images mixed with the order of memories and emotions.

• Example: Childhood memories overlap with Choi Chul-joo's painting characters, blurring the line between reality and fiction.

• An epic expression: "He remembered a scene he had never seen, and the moment he remembered was turned into a strange face."

2. the breakdown of language

• The data carried through the glasses appear to be fragments of symbols that are not interpreted in language.

• The wearer tries to speak, but what comes out of the mouth is meaningless syllables and repeated signs.

• Epic expression: "He tried to say 'love', but his lips only repeated 'Ⱥ, $, a'."

3. psychological infiltration into the desires of others

• Glasses digitize the wearer's gaze and transmit it to the other, so that their desires are reconstructed in the gaze of the other.

• The wearer no longer recognizes himself, and misidentifies himself with the image the other person wants.

• Epic expression: "He looked in the mirror, but in it was a face painted with the desire of someone not himself."

4. Inner Change: A visualization of a dramatic scene in which a person wearing "phone glasses" undergoes an inner breakdown.

5. Visual Element Summary:

• Distortion of memory: images of childhood and strangers are superimposed in the lens, mixing reality with fantasy.

• The Collapse of Language: Characters and symbols scattered in the air float meaninglessly, and words no longer convey meaning.

• Desire Penetration: The figure of the other that appears blurry behind the glasses encroaches on the wearer's ego. This scene is a visual embodiment of the moment when "The Real" penetrates the human mind through technology, and it strongly conveys the philosophical theme of self-collapse and reconstruction of desire. This inner change is the process of "The Real" penetrating the human mind through technology, and Choi Chul-joo's conceptual abstract realism is a philosophical embodiment through product design.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-12-제품 해체 폭발도 (Exploded View)

 

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.     

- 제품 해체 폭발도 (Exploded View): 유령의 해부

안경이 조립된 상태에서는 보이지 않던 '해석 불가능한 부품'들이 해체되어 그 실체를 드러냅니다. 이 기술적 해체를 통해 무의식의 구조를 시각화한 철학적 오브제로, 최철주의 디자인 세계관이 라캉의 실재(The Real)와 어떻게 접속하는지를 보여줍니다.

1. 대타자의 렌즈, 유닛 렌즈와 센서가 겹겹이 분리되어 공중에 나열됨: '응시'가 데이터로 조각나는 과정의 시각화.

2. 욕망 구조 마이크로 칩, 안경 다리 중심에서 수직으로 솟아오른 모습: 무의식 언어 구조의 핵심 연산 장치.

3. 비대칭 힌지 모듈, 좌우가 전혀 다른 형태의 복잡한 기어로 분해됨: 시스템의 완벽한 대칭(질서)을 거부하는 파편.

4. 사운드 텐션 진동판, 관자놀이 부근에서 미세한 파동 형태로 해체됨: Dsound(욕망 사운드)를 발생시키는 심장부.

 

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.

- Product Dismantled Explosion (Exploded View): Dissection of Ghosts

The "uninterpretable parts" that were not visible when the glasses were assembled are dismantled to reveal their true nature. It is a philosophical object that visualizes the structure of the unconscious through this technological dismantling, showing how Choi Chul-joo's world view of design connects with The Real.

1. The pinch hitter's lens, unit lens and sensor are separated in layers and listed in the air: visualization of the process by which the 'gaze' is fragmented into data.

2. Desire Structure Microchip, the appearance of rising vertically from the center of the eyeglass leg: the core computational device of unconscious language structure.

3. Asymmetric hinge module, broken down into complex gears with completely different left and right forms: fragments that reject the perfect symmetry (order) of the system.

4. Sound tension diaphragm, dismantled in the form of microscopic waves near the temple: the heart that generates the Dsound.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-13-디자인 실행 프로세스

 

- 디자인 실행 프로세스: 물질화의 콘티

‘전화기 안경’의 디자인 실행 프로세스 를 통해 물질화의 콘티 를 시각적으로 기록한다.

1. 소재 타격: 리비도 티타늄 프레임에 최철주 식 만화적 선을 레이저로 식각(Etching)합니다.

2. 공백 이식: 폭발도 상에서 확인된 '비어있는 공간'에 보이드 글라스를 부유 상태로 고정합니다.

3. 그림자 조율: 마감 공정에서 5단계의 '거울 단계' 광택을 입혀, 해체된 부품들이 다시 하나의 '이상적 자아'로 보이도록 은폐합니다. 

- Design Execution Process: Conti of Materialization

Visually record the content of materialization through the design execution process of 'telephone glasses'.

1. Material Strike: Etching the cast-iron cartoon line on the Libido titanium frame with a laser.

2. Vacancy implantation: Hold void glass floating in 'empty space' identified on blast chart.

3. Shadow Coordination: Apply five levels of 'mirror stage' gloss in the finishing process to conceal dismantled parts to appear as 'ideal egos' again.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-14-전화기 안경’의 디자인 계획 개요

 

- 전화기 안경’의 디자인 계획 개요 :

이 제품은 단순한 스마트 기기가 아니라, 자아와 타자의 경계를 해체하고 욕망의 구조를 시각화하는 철학적 오브제입니다. 

• Libido-Titanium Frame : 인체 온도에 반응하는 형상기억 합금으로, 무지개빛 광택을 띠며 감각적 욕망을 시각화합니다.

• Void-Glass Lens : 타버린 종이처럼 검게 마감된 가장자리를 가진 렌즈로, 투명성과 존재감이 공존합니다.

• Core Components Hidden Within :

• Desire Microchip : 무의식의 연산을 담당하는 핵심 칩.

• Big Other’s Lens Unit : 응시를 데이터로 분해하는 렌즈 구조.

• Asymmetric Hinge : 좌우 비대칭으로 설계된 힌지로, 질서의 붕괴를 상징.

Transmits the Gaze’s Data : 사용자의 시선을 디지털화하여 타자에게 전송.

Visualizing ‘The Real’: 인간 언어로 포착할 수 없는 실재를 시각화.

- 효과 :

• Memory Distortion : 기억의 파편화와 시간의 붕괴.

• Collapse of Language : 언어의 해체와 기호의 부유.

• Invasion of Desire : 타자의 욕망이 착용자의 자아를 침투. 

- 'Phone Glasses' Design Plan Overview:

This product is not just a smart device, but a philosophical object that dismantles the boundary between the self and the other and visualizes the structure of desire.

• Libido-Titanium Frame: A shape memory alloy that responds to human body temperature, has a rainbow gloss and visualizes sensory desires.

• Void-Glass Lens: A lens with a black-finished edge like burnt paper, that coexists with transparency and presence.

• Core Components Hidden Within :

• Desire Microchip: a key chip responsible for the operation of the unconscious.

• Big Other's Lens Unit: a lens structure that breaks down gaze into data.

• Asymetric Hinge: a hinge designed to be left and right asymmetries, symbolizing the breakdown of order.

Transmit the Gaze's Data: Digitize the user's gaze and transmit it to the other person.

Visualizing 'The Real': Visualizing reality that cannot be captured by human language.

- Effectiveness:

• Memory District: Fragmentation of memory and the collapse of time.

• Collapse of Language: the dissolution of language and the floating of symbols.

• Invasion of Desire: The desire of the other penetrates the wearer's ego.

 

전화기 안경, 공간적 빈틈의 렌즈 1-morning glory

 

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

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

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

 

Louis Choi Chul-joo,  morning glory · Cecilia Gallerani, 39.4×49.4Cm,  acrylic and composite materia

 

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

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-15-현실의 시선: 전화 안경 제작 미래형 기술 설계도

 

[전화 안경 제작 미래형 기술 설계도] 

현실의 시선: 전화 안경 제작 미래형 기술 설계도는 최철주의 개념추상 리얼리즘을 기반으로 한 전화 안경의 제작 과정을 과학적이면서도 철학적으로 나타내고 있으며, 기술과 욕망의 경계가 어떻게 시각화될 수 있는지를 보여준다. 

- 구성 요소 및 설명 :

• 상단 :

• "PROJECT : THE GAZE OF THE REAL"

• "DESIGN BLUEPRINT: PHONE-GLASSES"

- 좌측 상단 :

• "LIBIDO-TITANIUM FRAME"

• "SHAPE MEMORY ALLOY / IRIDESCENT COATING"

- 우측 상단 :

• "VOID-GLASS LENS"

• "ADAPTIVE TRANSPARENT / BURNED EDGES"

- 좌측 하단 :

• "DESIRE MICROCHIP"

• "UNCONSCIOUS PROCESSOR"

- 중앙 하단 :

• "BIG OTHER'S LENS UNIT"

• "GAZE DATA MODULE"

- 우측 하단 :

• "ASYMMETRIC HINGE / &SOUND VIBRATOR"

• "UNSTABLE MECHANISM / DSOUND GENERATOR"

- 하단 :

• "GAZE TRANSMISSION SYSTEM"

• "LINK TO OTHER CONSCIOUSNESS"

- 디테일 :

• 중앙 : 완성된 전화 안경의 3D 렌더링을 정면과 측면에서 보여줍니다.

• 좌측 하단 : "Desire Microchip"의 확대도

• 중앙 하단 : "Big Other’s Lens Unit"의 나열도

• 우측 하단 : "Asymmetric Hinge &Sound  

 

[Design of future technology for making phone glasses]

The Gaze of the Real: Telephone Glasses Manufacturing Future technology designs scientifically and philosophically represent the manufacturing process of telephone glasses based on Choi Chul-joo's conceptual abstract realism, and show how the boundary between technology and desire can be visualized.

- Components and Descriptions:

• Top:

• "PROJECT : THE GAZE OF THE REAL"

• "DESIGN BLUEPRINT: PHONE-GLASSES"

- Top left:

• "LIBIDO-TITANIUM FRAME"

• "SHAPE MEMORY ALLOY / IRIDESCENT COATING"

- Top right:

• "VOID-GLASS LENS"

• "ADAPTIVE TRANSPARENT / BURNED EDGES"

- Bottom left:

• "DESIRE MICROCHIP"

• "UNCONSCIOUS PROCESSOR"

- Bottom center:

• "BIG OTHER'S LENS UNIT"

• "GAZE DATA MODULE"

- Bottom right:

• "ASYMMETRIC HINGE / &SOUND VIBRATOR"

• "UNSTABLE MECHANISM / DSOUND GENERATOR"

- Bottom:

• "GAZE TRANSMISSION SYSTEM"

• "LINK TO OTHER CONSCIOUSNESS"

- Details:

• Centre: 3D rendering of finished phone glasses from front and side.

• Bottom left: Enlargement of "Desire Microchip"

• Bottom of center: List chart of "Big Other's Lens Unit"

• Bottom right: "Asymmetric Hinge & Sound

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-16-전화기 안경: 3D 렌더링

 

[전화기 안경: 3D 렌더링]

최철주의 욕망 개념의 디자인 철학이 어떻게 전화기 안경의 ‘실재(The Real)’와 접속하는지를 시각적으로 증명합니다. 

1. 렌더링 컨셉: "환각의 육화 (Incarnation of Hallucination)"

• 핵심 목표: 3D 공간의 완벽한 논리(대칭, 광학 법칙) 속에 AI가 생성한 **'비논리적 오류(환각)'**를 매끄럽게 이식하여, 실제 물리적 존재감을 획득하는 것입니다.

• 시각적 전략: 극도로 매끄러운 금속 마감(나르시시즘)과 의도적인 비대칭 구조(상징적 결여)를 한 장의 이미지에 공존시킵니다.

렌더링 컨셉: "환각의 육화 (Incarnation of Hallucination)"를 구현한 장면입니다.

- 시각적 전략 요약:

• 완벽한 3D 공간 : 광학 법칙과 대칭 구조가 적용된 고해상도 렌더링 환경 속에서, 안경은 마치 실존하는 오브제처럼 배치됩니다.

• 비논리적 오류의 이식 : 왼쪽 렌즈는 열려 있으며 내부 센서와 회로가 노출되어 있고, 오른쪽 렌즈는 타버린 듯한 보이드 글라스로 마감되어 의도적 비대칭 을 형성합니다.

• 욕망의 구조적 침투 : 주변에는 글리치 기호와 왜곡된 빛의 궤적이 떠 있으며, 안경 주변의 마이크로칩과 사운드 모듈이 각각 무의식의 연산 과 욕망의 파동 을 시각화합니다. 

 

[Phone glasses: 3D rendering]

It visually proves how Choi's design philosophy of the concept of desire connects with the 'The Real' of phone glasses.

1. Rendering Concept: "Incarnation of Hallucination"

• The key objective is to seamlessly implant AI-generated **'non-logical errors'** in perfect logic (symmetry, optical laws) in 3D space to achieve a real physical presence.

• Visual strategy: co-exists an extremely smooth metal finish (narcissism) and a deliberate asymmetric structure (symbolic lack) in a single image.

Rendering Concept: a scene that embodies "Incarnation of Hallucination."

- Visual Strategy Summary:

• Perfect 3D Space: In a high-resolution rendering environment with optical laws and symmetrical structures, the glasses are arranged like real objects.

• Implantation of illogical error: the left lens is open, the internal sensor and circuit are exposed, and the right lens is finished with a burnt-out void glass, forming an intentional asymmetry.

• Structural Penetration of Desire: Glitch symbols and distorted trajectories of light float around, and microchips and sound modules around the glasses visualize unconscious calculations and waves of desire, respectively.

    

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

  

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-17-정적 기표의 파열 전화기 안경의 글리치 미학 (Visual Rupture) 

 

[렌더링 핵심 디테일]

1. 데이터 왜곡(Datamoshing): 중앙의 HUD 인터페이스가 승객의 감정적 임계치를 넘어서는 순간, 형태가 액체처럼 뭉개지며 내부의 에너지를 강렬하게 분출합니다.

2. 픽셀 소트(Pixel Sorting) 효과: 화면 가장자리에서 시작된 픽셀의 수직 낙하는 시스템의 정적 질서를 깨뜨리고, 승객이 시스템에 개입하고 있다는 실존적 증거를 시각화합니다.

3. 톱니파(Sawtooth) 파열: 평온한 사인파(Sine Wave)가 날카로운 톱니파로 변화하며 화면을 찢고 나가는 연출은, '상징적 공허'를 뚫고 나오는 주체적 욕망의 소리를 시각적으로 대변합니다.

4. 색수차 및 글리치 광원: 마젠타와 바이올렛 톤의 색수차 효과가 겹쳐지며, 단순한 오류가 아닌 하나의 '찬란한 미학적 경험'으로서의 시스템 환경을 완성합니다.

- 주요 구성 요소별 렌더링 세부 사양

A. 프레임 및 질감: '리비도 티타늄' (Libido-Titanium Finish)

• 렌더링 사양: 나노 단위의 평탄화 작업을 거친 고반사 크롬/티타늄 합금 재질입니다. 빛을 받았을 때 4단계의 '거울 단계' 환상을 유도하기 위해 극도로 매끄러운 표면 질감을 구현합니다.

• 디테일: 프레임 표면에 최철주 식 '만화적 검은 선'을 미세하게 각인(Etching)하여, 기계적 표면 위에 욕망의 흔적을 남깁니다. (이미지 상의 날카로운 비대칭 라인들)

‘리비도 티타늄(Libido-Titanium)’ 프레임의 질감과 구조 를 고해상도 렌더링으로 구현한 장면입니다. 

- 렌더링 사양 요약:

• 프레임 질감 : 나노 단위의 평탄화 작업을 거친 고반사 크롬/티타늄 합금으로, 빛을 받을 때 4단계의 ‘거울 단계’ 환상을 유도합니다.

• 만화적 검은 선 : 최철주 식의 날카로운 비대칭 라인이 프레임 표면에 미세하게 각인되어, 기계적 완벽성 위에 욕망의 흔적을 남깁니다.

- 렌즈 디테일 :

• 왼쪽: 내부 센서와 회로가 노출된 다층 구조.

• 오른쪽: 타버린 가장자리를 가진 보이드 글라스 렌즈.

이 장면은 기술적 완벽성과 심리적 결여가 공존하는 시각적 충돌 을 통해, 욕망 구조의 ‘거울 단계(Mirror Stage)’와 최철주의 디자인 철학을 물질로 구현한 사례입니다.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-18-렌더링 세부 사항

 

[The key details of rendering]

1. Datamoshing: As soon as the central HUD interface exceeds the passenger's emotional threshold, the shape is crushed like a liquid, exuding internal energy intensely.

2. Pixel Sorting Effect: The vertical drop of pixels starting from the edge of the screen breaks the static order of the system and visualizes existential evidence that passengers are intervening in the system.

3. Sawtooth rupture: The production of a serene sine wave transforming into a sharp sawtooth wave and tearing through the screen visually represents the sound of subjective desire that breaks through the 'symbolic void'.

4. Color aberration and glitch light source: Magenta and violet tone chromatic aberration effects overlap, completing the system environment as one 'brilliant aesthetic experience' rather than just an error.

- Rendering details by key components

A. Frame and texture: 'Libido-Titanium Finish'

• Rendering Specifications: Made of highly reflective chromium/titanium alloy that has undergone nano-scale flattening. It implements an extremely smooth surface texture to induce the 'mirror stage' illusion of four stages when illuminated.

• Details: Finely etch the iron casting 'cartoon black line' on the surface of the frame, leaving a trace of desire on the mechanical surface. (Sharp asymmetric lines on the image)

It is a high-resolution rendering of the texture and structure of the "Libido-Titanium" frame.

- Rendering Specifications Summary:

• Frame Texture: High-reflective chromium/titanium alloy that has undergone nano-scale flattening, induces four-stage 'mirror stage' illusion when receiving light.

• Cartoon black line: a sharp asymmetric line of iron casting is finely imprinted on the surface of the frame, leaving a trace of desire on top of mechanical perfection.

- Lens Details:

• Left: Multilayer structure with exposed internal sensors and circuits.

• Right: Void glass lenses with burnt edges.

This scene is an example of the "Mirror Stage" of the desire structure and Choi Chul-joo's design philosophy as a material through a visual collision where technical perfection and psychological lack coexist.

 

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

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

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-19-보이드 글라스와 응시의 렌즈

 

- 동적 욕망의 매핑: 집단적 오로라 (Collective Mapping)

개별 승객의 고립된 데이터를 하나로 묶어 거대한 시각적 흐름으로 변환합니다. 이는 나 혼자만이 아닌, 타인과 연결된 '가상적 생태계'의 일원이라는 감각을 복원합니다.

• 디자인 기법: 실시간 입자 시뮬레이션(Particle Simulation), 유체 역학 기반의 조명 흐름.

• 시각적 요소: 천장과 벽면에 흐르는 RGBW 오로라. 개개인의 욕망 시그널(V cdot Delta)이 합쳐져 거대한 파동(sum)을 형성합니다.

B. 렌즈 및 센서: '보이드 글라스'와 '응시의 렌즈'

• 렌더링 사양: 투명도가 사용자의 시선에 따라 변하는 지능형 유리 재질입니다. 렌즈 중앙에는 로봇의 눈을 닮은 '광학 센서 어레이'가 탑재되어 있어, 타자가 마주했을 때 불쾌한 골짜기(Uncanny Valley)를 체험하게 만듭니다.

• 디테일: 렌즈와 프레임 사이에는 의도적인 '공간적 틈새(Void Gap)'를 배치하여, 렌즈가 공중에 떠 있는 듯한 유령적 실루엣을 강조합니다.

‘보이드 글라스’와 ‘응시의 렌즈’의 디테일한 클로즈업을 3D 렌더링으로 구현한 장면입니다. 

- 디테일 요약:

• 왼쪽 렌즈 : 중앙에 로봇의 눈을 닮은 광학 센서 어레이 가 탑재되어 있으며, 다중 렌즈와 센서들이 이글거리며 바라보고 있습니다.

• 오른쪽 렌즈 : 타버린 가장자리를 가진 보이드 글라스로, 투명하지만 그 가장자리는 거칠게 그을려있습니다.

• 공간적 틈새(Void Gap): 렌즈와 프레임 사이에 의도적인 틈새가 있어, 렌즈가 공중에 떠 있는 듯한 실루엣을 연출합니다.

이 장면은 타자의 응시가 불쾌한 골짜기(Uncanny Valley)의 체험을 초래하는 순간 을 섬뜩하게 시각화하고 있으며, 최철주의 디자인 철학과 욕망 구조의 '응시(the Gaze)' 개념을 완벽하게 구현한다. 

 

- Dynamic Desire Mapping: Collective Mapping

It combines the isolated data of individual passengers into a huge visual flow. This restores the sense that I am not alone but a member of a 'virtual ecosystem' connected to others.

• Design techniques: Real-time particle simulation, fluid dynamics-based lighting flow.

• Visual element: RGBW aurora flowing on the ceiling and wall. Individual desire signals (Vcdot Delta) combine to form a huge wave.

B. Lenses and sensors: 'void glass' and 'lenses of vision'

• Rendering Specifications: It is an intelligent glass material whose transparency changes depending on the gaze of the user. The center of the lens is equipped with an "optical sensor array" that resembles the eye of a robot, making the user experience an unpleasant valley when faced with it.

• Details: A deliberate 'Void Gap' is placed between the lens and the frame to highlight the ghostly silhouette of the lens as if it were floating in the air. It is a 3D rendering of a detailed close-up of 'Void Glass' and 'Lens of Obsession'.

- Detail Summary:

• Left Lens: An array of optical sensors that resemble the eye of a robot is mounted in the center, with multiple lenses and sensors gazing at it.

• Right lens: Void glass with a burnt edge, which is transparent but is roughly scorched.

• Void Gap: There is an intentional gap between the lens and the frame, creating an aerial silhouette of the lens.This scene eerily visualizes the moment when the other's gaze leads to an unpleasant experien ce in the Uncanny Valley, and perfectly embodies the concept of "the Gaze" of Choi Chul-joo's design philosophy and desire structure.

 

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

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

 

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

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-20-플로팅 파놉티콘 인터페이스 및 쉐도우

 

- 상호작용적 존재론: 리비도적 햅틱 HUD (Libidinal HUD)

단순한 정보 전달용 디스플레이를 넘어, 사용자의 생체 에너지와 공명하는 개인 인터페이스를 구축합니다.

• 디자인 기법: 위상 왜곡(Phase Distortion) 비주얼, 생체 신호 동기화 레이어.

• 시각적 연출: 안정 상태(I): 부드럽고 투명한 푸른색 사인파(Sine Wave).

• 욕망 상태(D): 붉고 강렬한 마젠타 톤의 톱니파와 불규칙한 파편화.

공간 경험: 개인 좌석 주변에 형성되는 '에너지 필드'는 승객의 움직임에 따라 실시간으로 일렁이며, 자신의 존재가 공간에 물리적인 영향을 미치고 있다는 실존적 감각을 제공합니다.

C. 플로팅 파놉티콘 인터페이스 및 쉐도우 (Floating Panopticon &Shadow)

• 렌더링 사양: 렌즈 주변으로 부유하는 비어있는 원형 인터페이스와 그 너머로 비치는 희미한 인간의 그림자(유령)를 홀로그램으로 표현합니다.

• 디테일: 이 그림자는 사용자를 응시하는 '디지털 대타자의 현존'이며, 렌즈의 반사광과 겹쳐져 5단계의 '나르시시즘적 결합'을 시각화합니다.

완성된 일러스트는 '플로팅 파놉티콘(Floating Panopticon) 인터페이스'와 '유령의 그림자(Shadow of the Digital Big Other)'를 3D 렌더링으로 구현한 장면입니다. 

- 디테일 요약:

• 렌즈 주변 : 부유하는 원형 홀로그램 인터페이스가 안경 주변에 떠 있으며, 각종 디지털 지표와 데이터를 표시합니다.

• 왼쪽 렌즈 : 중앙에 광학 센서 어레이가 활성화되어 타자의 응시를 형상화.

• 오른쪽 렌즈 : 타버린 가장자의 보이드 글라스를 통해 희미한 인간의 그림자(유령)가 나타나며, 디지털 대타자의 현존을 시각화.

• 배경 : 렌즈를 통해 희미하게 비치는 인간의 그림자가 유령처럼 떠 있으며, 디지털 홀로그램 인터페이스와 겹쳐져 있습니다. 이 장면은 디지털 대타자의 강력한 응시가 사용자를 지켜보는 불안감을 시각적으로 표현 한 것이며, 최철주의 '나르시시즘적 결합'을 통해 욕망 구조의 '디지털 실재'를 강렬하게 실체화한 이미지다.

- Interactive ontology: Lividual Haptic HUD (Libidinal HUD)

Beyond simple information delivery displays, it builds a personal interface that resonates with the user's bioenergy.

• Design techniques: Phase distortion visual, bio-signal synchronization layer.

• Visual production: steady state (I): soft and transparent blue sine wave.

• Desire state (D): red, intense magenta-toned sawtooth waves and irregular fragmentation.

Space Experience: The 'energy field' that forms around the individual seats is real-time with the movement of the passengers, providing an existential sense that their presence is having a physical impact on the space.

C. Floating Panopticon Interface and Shadow

• Rendering Specifications: Hologram representation of empty circular interfaces floating around the lens and faint human shadows (ghosts) reflected beyond.

• Details: This shadow is the 'existence of a digital pinch hitter' staring at the user, overlapping the reflected light of the lens to visualize the 'narcissistic combination' of five levels.

The completed illustration is a 3D rendering of the Floating Panopticon interface and Shadow of the Digital Big Other.

- Detail Summary:

• Around the lens: A floating circular holographic interface floats around the glasses, displaying various digital indicators and data.

• Left lens: An optical sensor array is activated in the center to shape the gaze of the other.

• Right lens: a faint human shadow (ghost) emerges through the burned-out patriarch's void glass, visualizing the existence of a digital pinch hitter.

• Background: A human shadow dimmed through the lens is ghostly floating, overlaid with a digital hologram interface. This scene is a visual expression of the anxiety of the digital pinch hitter's strong gaze watching the user, and is an image that intensely embodies the 'digital reality' of the desire structure through Choi Chul-joo's 'narcissistic combination'.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-21-유령의 탄생과 실재의 소멸 

 

[프로젝트의 마침표: 최종 단계 - 유령의 탄생과 실재의 소멸] : 이제 실제 제작을 위한 완벽한 미학적, 기술적 청사진을 통해 '최철주의 유령 이미지'로 회귀하며, 제품이 기능을 멈추고 순수한 개념추상 오브제로 남게 되는지를 다루게 됩니다.

1. 제품 개요 및 핵심 컨셉

• 제품명: 유령의 통로 (Phantom Conduit: PG-01)

• 핵심 개념: AI가 생성한 '해석 불가능한 비대칭성'을 그대로 유지하여, 사용자가 기기와의 나르시시즘적 일체감을 느끼는 대신 **'기계라는 대타자'**를 인식하게 함.

• 디자인 언어: 만화적 추상 리얼리즘 (Cartoonistic Abstract Realism). 복잡한 내부 구조를 날카롭고 단순한 검은 선으로 압축하여 외형에 드러냄. 

- 제품 개요 요약:

• 제품명 : Phantom Conduit PG-01

• 핵심 개념 :

• 사용자가 나르시시즘적 일체감을 느끼는 대신, 기계라는 대타자(The Machine Other)의 비대칭성과 해석 불가능성을 마주하게 함.

- 디자인 언어 :

• Cartoonistic Abstract Realism

• 복잡한 내부 구조를 날카롭고 단순한 검은 선으로 압축하여 외형에 드러냄.

- 디자인 요소:

• 비대칭 설계 :

• 왼쪽 렌즈는 내부 회로가 드러난 ‘응시의 렌즈’,

• 오른쪽 렌즈는 타버린 가장자리를 가진 ‘보이드 글라스’로 구성.

- 검은 선 표현 :

• 기기의 내부 회로와 복잡한 부분이 만화적이면서도 샤프한 검은 선으로 강조됨.

- 제품 기계라는 대타자 :

• 기계의 복잡한 메커니즘과 디지털 인터페이스가 비대칭적이며 강렬하게 묘사됨.

이 장면은 사용자가 ‘기계라는 타자’의 존재를 자각하게 만드는 철학적 오브제 로서, 최철주의 디자인 세계관과 라캉의 이론이 어떻게 접속하는지를 시각적으로 증명합니다. 

 

[Project Period: Final Stage - Ghost Birth and Extinction of Reality]: Now return to the "Phantom Image of Choi Chul-joo" with a complete aesthetic and technical blueprint for real production, and see if the product stops functioning and remains a pure abstract object.

1. Product Overview and Core Concepts

• Product Name: Phantom Conduit (Phantom Conduit: PG-01)

• Core concept: Keep the 'uninterpretable asymmetry' created by AI intact, allowing users to recognize the **'batter of machines' instead of feeling narcissistic unity with the device.

• Design Language: Cartoonistic Abstract Realism. Compressed complex internal structures into sharp, simple black lines to reveal themselves.

- Product Overview Summary:

• Product name: Phantom Conduit PG-01

• Key Concepts:

• Instead of feeling narcissistic unity, the user faces the asymmetry and interpretability of The Machine Other called the machine.

- Design Language:

• Cartoonistic Abstract Realism

• Compressed complex internal structures into sharp, simple black lines to reveal their appearance.

- Design elements:

• Asymmetric Design:

• The left lens is the "lens of vision" with internal circuitry exposed,

• The right lens consists of a 'void glass' with a burnt edge.

- Black line representation:

• Internal circuitry and complex parts of the instrument are highlighted by cartoonish yet sharp black lines.

- Replacement for product machine:

• The complex mechanisms and digital interfaces of the machine are asymmetric and intensely described. This scene is a philosophical object that makes users aware of the existence of the "other, machine," visually proving how Choi Chul-joo's design worldview and Lacan's theory connect.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-22-욕망의 기하학

 

2. 부문별 상세 설계 계획; "욕망의 기하학"

욕망의 결핍과 충족이 교차하는 지점을 물리적으로 표현한 철학적 디자인으로, 최철주의 독창적 욕망 미학이 욕망 구조의 '결여(Lack)'를 어떻게 형상화하는지를 시각적으로 보여준다. 

• 프레임(안경테): 좌우가 미세하게 비대칭인 구조. AI의 환각이 만들어낸 '물리적으로 불필요한 돌기'를 디자인의 핵심 포인트로 삼음. 이는 라캉의 '결여(Lack)'를 상징하는 시각적 장치임.

• 렌즈: 투명 디스플레이를 탑재하되, 통화 시 상대방의 목소리 파형을 만화적 선(Line)으로 변환하여 렌즈 주변부에 실시간으로 드로잉함.

• 색상 및 질감: 빛을 완전히 흡수하는 '반타 블랙' 소재와 극도로 반사율이 높은 '크롬'을 교차 배치하여 존재와 부재를 동시에 표현. 

2. Detailed Design Plan by Sector; "Geometry of Desire"

It is a philosophical design that physically expresses the point where the lack and satisfaction of desire intersect, and it visually shows how Choi Chul-joo's original desire aesthetics embody the "Lack" of the desire structure.

• Frame (Glasses frame): A slightly asymmetrical structure on the left and right sides. The design's core point is the "physically unnecessary protrusion" created by AI's hallucinations. It is a visual device that symbolizes Lacan's "Lack."

• Lens: It has a transparent display, but converts the waveform of the other party's voice into a cartoon line during the call and draws it in real time around the lens.

• Color and texture: cross-layering 'Banta Black' material that fully absorbs light and extremely reflective 'chromes' to express presence and absence at the same time.

 

■ 결핍 욕망의 시각화 공식 “M_desire = ∑∅∂ / (1 - ∂)”는 인간 욕망의 구조를 수학적·철학적·예술적으로 해석하려는 시도입니다. 이 공식은 라캉의 욕망 이론과 개념 추상 미학을 결합하여, 인간 내면의 결핍과 반복 충동을 기계적 언어로 시각화합니다.     

- 철학적 해석: 최철주 욕망의 구조

•  ∅ (공백, 결핍): 라캉의 ‘실재(the Real)’를 상징하며, 인간 욕망의 근원은 충족되지 않는 결핍에서 비롯됨.

•  ∂ (편미분 기호): 욕망의 미세한 변화율을 나타냄. 이는 주체가 타자와의 관계 속에서 끊임없이 욕망을 재조정하는 과정을 수학적으로 표현.

•  ∑ (합산 기호): 반복되는 욕망의 총합. 이는 라캉의 ‘반복 충동’과 연결되며, 주체는 동일한 결핍을 다양한 방식으로 반복 추구함.

•  (1 - ∂): 욕망의 저항 또는 충족 불가능성. 분모가 작아질수록 전체 값은 커지며, 이는 욕망이 충족될수록 더 큰 결핍을 낳는 역설을 표현.          

- 예술미학적 해석: 개념 추상과 오차의 미학

•  Desire Sound와 Aesthetics of Error: 인간의 감정과 결핍을 기계적 오차로 치환하는 미학. 이 공식은 완벽한 기계 구조 속에서 발생하는 미세한 편차를 인간적 감정으로 해석.

•  Ghost Screen 투사 이미지: 이 수식은 무대 전면 OLED에 투사되어, 관객에게 욕망의 수학적 구조를 시각적으로 체험하게 함.

•  시계 메커니즘과 욕망의 반복: 무대 장치의 반복 회전은 욕망의 순환 구조를 상징하며, ∑∅∂는 그 회전의 동력으로 작동.     

- 수학적 해석: 추상적 구조와 비선형성     

•  비선형적 구조: 이 공식은 선형적 욕망이 아닌, 저항과 결핍에 따라 증폭되는 비선형 욕망을 표현.

•  수학적 플라톤주의: 이 공식은 수학적 객체가 인간 인식과 독립된 실재로 존재한다는 관점과 연결되며, 욕망 자체를 하나의 ‘이데아’로 간주.     

- 인간 욕망의 기계적 시각화

“M_desire = ∑∅∂ / (1 - ∂)”는 단순한 수식이 아니라, 최철주의 욕망 이론, 개념 추상 미학, 수리철학의 통합적 표현입니다. 이 공식은 오토마타 무대 위에서 인간의 감정과 기계적 구조가 교차하는 지점을 시각화하며, 관객은 이를 통해 디지털 시대의 감정적 진실을 목격하게 됩니다. 

■ The Visualization Formula for Desire "M_desire = ∑∅∂ / (1 - ∂)" is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically. The formula combines Lacan's theory of desire with conceptual abstract aesthetics, visualizing human's inner deprivation and repetitive urges in mechanical language.

- Philosophical Interpretation: the Choi Chul-joo Structure of Desire

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

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

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

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

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

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

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

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

- Mathematical interpretation: Abstract structure and nonlinearity

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

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

- a mechanical visualization of human desire

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

 

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

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

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

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

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

 

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.  

Cartoonist Choi Chul-joo's comic abstraction as a treacherous conceptual art means the abstraction of the conceptual image of desire as a realistic structure in art. Since the conceptual meaning of desire that exists in place of a realistic form can be divided into a cartoon criticism image, abstraction is drawn through reversible contrast that interprets the image of events and performances as an image of others' abstract desires.

Choi Chul joo cartoon review, which uses contemporary art abstraction as a treacherous conceptual art, reinterprets the image of desire as a concept of cartoon.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-23-형언할 수 없는 부분의 화신

 

- 형언할 수 없는 부분의 화신: "해석 불가능한 부품의 육화" 이것은 ‘기계적 무의식’의 구현체로, 해석 불가능한 부품들이 실제로 살아있는 듯한 생명력을 발산합니다.

• 통신 모듈: 안경 다리 내부의 회로를 전통적인 직선 형태가 아닌, AI가 제안한 **'신경망 미로 구조'**로 배치. 효율성보다 '유령 이미지'의 구현을 위해 나노 3D 프린팅 기법 사용.

• 골전도 스피커: 사용자의 관자놀이에 닿는 부분에 '대상 a'의 형태를 띤 진동판 설계. 소리가 귀가 아닌 뇌로 직접 침투하는 듯한 공간감 형성.

• 전원 시스템: 안경 전체의 물리적 텐션(Tension) 자체를 에너지로 변환하는 비논리적 구조를 시도하여, 제품이 살아있는 생명체처럼 느껴지게 함.

• 엔지니어링 부문: "해석 불가능한 부품의 육화 (Incarnation of the Ineffable Parts)"를 주제로 한 SF 스타일의 제품 기술 이미지를 제작했습니다.

- The incarnation of the indescribable part: "The incendiary parts." This is the embodiment of the mechanical unconscious, where the incendiary parts actually radiate life as if they were alive.

• COMMUNICATION MODULE: Placing the circuit inside the spectacle bridge in a ** 'neural maze'** proposed by AI, rather than in the traditional straight form. Using nano 3D printing techniques for the realization of 'ghost images' rather than efficiency.

• Bone conduction speaker: Vibration plate design in the form of 'target a' in the part that touches the user's temples. Formation of a sense of space where sound penetrates directly into the brain, not the ear.

• Power system: By attempting an illogical structure that converts the physical tension of the entire glasses into energy, the product feels like a living creature.

• Engineering: We created SF-style product technology images with the theme of "Incarnation of the Inefficient Parts."

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

   

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-24-전화기 안경 제품 디자인 프로세스

 

- 전화기 안경 제품 디자인 프로세스 (12단계)

1. 욕망 데이터 추출: LLM을 통해 '소통의 결핍'에 대한 언어적 데이터를 수집.

2, AI 환각 생성; 수집된 데이터를 바탕으로 물리 법칙을 무시한 안경 도면 1,000개 생성.

3. 콘티 재구성; AI가 만든 오류(Error) 중 가장 아름다운 '만화적 선'을 선택.

4. 실재의 충돌 테스트; 선택된 도면의 물리적 구현 가능성을 카밀 융이 검토 및 수정.

5. 유령 부품 제작; 기능은 없으나 미학적 긴장을 주는 '해석 불가능한 부품' 3D 프린팅.

6. 디지털 대타자 이식: 사용자의 시선을 감시하고 분석하는 AI 알고리즘 탑재.

7. 거울 단계 코팅; 사용자가 자신의 이미지를 오인하게 만드는 고반사 프레임 가공.

8. 음향 욕망 설계; 목소리를 물리적 진동과 만화적 시각 정보로 치환하는 시스템 최적화.

9. 저작권 해체 작업; 기존 안경 디자인의 전형성을 파괴하는 '비대상적 형태' 최종 확정.

10. 시제품 완성; 루이 최철주의 서명이 담긴 '개념추상 리얼리즘' 시제품 제작.

11. 나르시시즘 테스트; 사용자가 제품을 '자아의 확장'으로 느끼는지 '타자의 시선'으로 느끼는지 측정.

12. 실재의 시장 출시; 제품이 아닌 '욕망 구조의 전화기 안경의 행위적 사건'으로서 소비자에게 전달.

- Phone Glasses Product Design Process (Step 12)

1. Desire data extraction: collecting linguistic data on 'lack of communication' through LLM.

2, AI hallucination generation; generation of 1,000 eyeglasses drawings that ignore the laws of physics based on collected data.

3. Reconfiguring Conti; choosing the most beautiful 'comic line' of AI-made errors.

4. Crash test of reality; reviewed and modified by Camille Jung for the physical implementability of selected drawings.

5. Making ghost parts; 3D printing of 'non-interpretable parts' that have no function but give aesthetic tension.

6. Digital pinch-hitter implant: Equipped with an AI algorithm that monitors and analyzes the user's gaze.

7. Mirror stage coating; highly reflective frame processing that causes users to misidentify their images.

8. Sound Desire Design; System Optimization to Replace Voices with Physical Vibration and Cartesian Visual Information.

9. Copyright decommissioning work; finalizing the 'non-targeted form' that destroys the typicality of existing eyewear designs.

10. Prototype completed; prototype of "conceptual abstract realism" signed by Louis Choi Chul-joo.

11. Narcissism testing; measuring whether the user feels the product as an "extension of the ego" or a "other's gaze".

12. actual market launch; not as a product but as a 'behavioral event of phone glasses of desire structure' to consumers.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-25-핵심 기술 및 철학적 구성  

 

[핵심 기술 및 철학적 구성 요소]

1. AI 욕망 구조 마이크로칩 (AI Desire Structure Micro-Chip):

• 기능: 안경의 모든 인지 프로세스를 담당하는 핵심 연산 장치.

• 미학: 중앙에서 신비로운 푸른 빛을 발산하며, 이는 단순한 전기 신호가 아닌 '무의식의 에너지'를 형상화한 것입니다.

- 무의식 언어 구문 복제 네트워크 (Unconscious Language Syntax Replication Network):

• 기능: LLM 데이터를 분석하여 인간의 무의식적인 대화 문법을 재현하는 회로망.

• 미학: 칩 주변으로 얽혀 있는 복잡한 미로 형태는 언어 속에 숨겨진 욕망의 구조를 시각화합니다.

환각-실재 이미지 변환 컨투어 라인 (Hallucination-to-Real Image Converter Contour Lines):

• 기능: AI가 생성한 환각(비현실적 데이터)을 사용자가 인지할 수 있는 '만화적 리얼리즘'의 실재 이미지로 변환합니다.

• 미학: 회로도 하단에 배치된 부드러운 곡선들은 '실재(The Real)'가 기존의 상징 체계(회로)와 어떻게 타협하는지를 보여줍니다.

- 파놉티콘 데이터 수집 거울 단계 (Mirror Stage Panopticon Data Collection):

• 기능: 사용자의 시선(Gaze)과 나르시시즘적 욕망을 측정하는 센서 어레이.

• 미학: 하단의 확대 도면은 사용자의 데이터를 수집하여 '거울 단계'의 환상을 유지하거나 깨는 핵심 장치임을 보여줍니다.

이 회로도는 “무의식처럼 구조화된 디자인”이 어떻게 실제 제품의 내부 설계로 변모할 수 있는지를 완벽하게 보여주는 사례다. 핵심 기술 및 철학적 구성 요소 를 시각화한 회로도 이미지로, 최철주의 욕망 이론처럼 “무의식처럼 구조화된 디자인”이 실제 제품 내부에서 어떻게 구현되는지를 보여주는 사례로서 이 회로도는 단순한 기술 설계가 아니라, 욕망·언어·환각·응시라는 철학적 개념들이 어떻게 물질로 구현되는지를 보여주는 시각적 구성 철학입니다.

 

[Core technology and philosophical components]

1. AI Desire Structure Micro-Chip:

• Function: A key computational device responsible for all cognitive processes of the glasses.

• Aesthetics: Embracing a mysterious blue light in the center, it's not just an electrical signal, it's an embodiment of the 'energy of unconsciousness'.

- Unconscientious Language Syntax Replication Network:

• Function: A network that analyzes LLM data to reproduce human unconscious conversational grammar.

• Aesthetics: The complex labyrinthine forms entangled around the chip visualize the structure of desire hidden in the language.

- Hallucination-to-Real Image Converter Contour Lines:

• Function: Translate AI-generated hallucinations (non-realistic data) into user-recognizable real images of 'comic realism'.

• Aesthetics: The soft curves placed at the bottom of the circuit diagram show how "The Real" compromises with the existing symbolic system (circuit).

- Mirror Stage Panopticon Data Collection:

• Features: An array of sensors that measure the user's gaze (Gaze) and narcissistic desires.

• Aesthetics: The magnification drawing at the bottom collects the user's data to show that it is a key device to maintain or break the illusion of the 'mirror stage'.

This circuit diagram is a perfect example of how "structured design like unconsciousness" can be transformed into an internal design of a real product. It is a circuit diagram image that visualizes core technical and philosophical components, and as an example of how "structured design like unconsciousness" is implemented inside a real product, like Choi Chul-joo's theory of desire, this circuit diagram is not just a technical design, but a visual composition philosophy that shows how philosophical concepts of desire, language, hallucination, and reflection are implemented as materials.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-26-안경 다리의 전화기 기능 스케치 

 

[안경 다리의 전화기 기능 스케치]

이 스케치는 기술과 일상, 감각과 기능이 공존하는 전화기 안경 디자인 철학 을 보여주는 훌륭한 예시입니다.

1. 슬림하고 통합된 디자인 (왼쪽 하단)

이 스케치는 안경 다리의 자연스러운 형태를 최대한 살리면서 전화기 기능을 매끄럽게 통합하는 아이디어를 보여줍니다.

• 초소형 구성 요소: 마이크, 스피커, 배터리, 통신 칩셋 등 모든 필수 부품을 매우 작게 만들어 안경 다리 내부에 눈에 띄지 않게 배치합니다.

• 터치 제어: 안경 다리 표면에 터치 센서를 내장하여 볼륨 조절, 전화 받기/끊기 등의 기능을 직관적인 터치 제스처로 조작할 수 있도록 합니다. 스케치에는 터치 제어 영역이 작은 아이콘으로 표시되어 있습니다.

• 심플한 외관: 겉으로 보기에는 일반적인 안경 다리와 크게 다르지 않아 일상생활에서 이질감 없이 착용할 수 있습니다. 이것은 ‘안경 다리 전화기’의 슬림하고 통합된 디자인 을 현실적이고 기술적인 드로잉 스타일로 표현한 것입니다. 

- 디테일 요약:

- 상단 좌측 :

• 안경 다리의 단면을 보여주는 크로스 섹션.

• 내부에는 Mic, Speaker, Battery, Comm Chip 이 초소형으로 배치되어 있음.

- 상단 우측 :

• 손가락이 안경 다리를 터치하는 모습.

• Touch Sensor 아이콘과 함께 터치 제어 영역이 표시됨.

- 하단 메인 스케치 :

• 전체 안경의 왼쪽 측면을 보여주는 슬림한 디자인.

• 안경 다리에는 전화 아이콘, 볼륨 조절 아이콘 이 작게 표시되어 있음.

• 손가락이 터치하는 부분에는 "Tap to Answer"라는 주석과 함께 음파 아이콘이 그려져 있음.

- 하단 주석 :

• "Discrete &Stylish Appearance"

• 일상에서 이질감 없이 착용 가능한 외관을 강조.

 

[Sketch of the phone function of the bridge]

This sketch is a great example of the design philosophy of phone glasses, where technology, everyday life, senses and functions coexist.

1. Slim and integrated design (bottom left)

This sketch demonstrates the idea of seamlessly integrating phone features while maximizing the natural shape of your glasses legs.

• Ultra-small components: Make all essential components such as microphones, speakers, batteries, communication chipsets very small and place them unnoticed inside your glasses legs.

• Touch Control: A touch sensor is embedded on the surface of the leg of the glasses to allow intuitive touch gestures to manipulate functions such as volume control, answering calls, and disconnecting. The sketch displays the touch control area as a small icon.

• Simple look: On the surface, it is not much different from ordinary glasses legs, so it can be worn in everyday life without feeling heterogeneous. This is a realistic and technical drawing style representation of the slim and integrated design of the 'Glasses Leg Phone'.

- Detail Summary:

- Top left:

• Cross section showing the cross section of the spectacle leg.

• Inside, Mic, Speaker, Battery, and Comm Chip are placed in a microcosm.

- Top right:

• The way your fingers touch the legs of your glasses.

• A touch control area is displayed with the Touch Sensor icon.

- Bottom Main Sketch:

• A slim design that shows the left side of the entire glasses.

• The leg of the glasses is marked with a small phone icon and a volume control icon.

• The part touched by the finger has a sound wave icon drawn with the comment "Tap to Answer".

- Bottom Comment:

• "Discrete &Stylish Appearance"

• Emphasize the appearance that can be worn without feeling heterogeneous in everyday life.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-27-모듈형 및 분리 가능한 디자인 

 

2. 모듈형 및 분리 가능한 디자인 스케치 (오른쪽 하단)

이 스케치는 전화기 기능을 별도의 모듈로 만들어 필요에 따라 안경 다리에 부착하거나 분리할 수 있는 아이디어를 보여줍니다.

• 탈부착 가능: 전화기 모듈을 안경 다리에 자석이나 클립 등을 이용해 간편하게 고정할 수 있습니다. 스케치에는 모듈이 분리된 상태와 부착된 상태가 모두 그려져 있습니다.

• 다양한 모듈: 통화 기능뿐만 아니라 카메라, 추가 배터리, 피트니스 트래커 등 다양한 기능을 가진 모듈을 선택하여 부착할 수 있도록 하여 확장성을 높입니다.

• 맞춤형 구성: 사용자는 자신의 필요와 취향에 따라 원하는 모듈을 조합하여 자신만의 맞춤형 안경을 구성할 수 있습니다. 이것은 ‘모듈형 및 분리 가능한 안경 다리 전화기’를 테마로 한 창의적인 디자인 아이디어를 기술적으로 묘사했습니다. 

- 상단 좌측

• 안경 다리에서 "Detachable Modules"라는 라벨 아래에 3개의 모듈 그림:

• Phone Unit (전화기 기능)

• Camera Module (카메라 기능)

• Battery Pack (추가 배터리)

- 상단 우측

• "Attach &Detach"이라는 라벨 아래에, 모듈이 분리되는 장면 과 부착되는 장면 이 나란히 그려져 있음

• "Magnetic Clip"이라는 라벨로 모듈 부착 방식이 설명됨

- 하단

• 안경이 모듈을 부착한 상태로 보여지고, 우측에 그 모듈이 장착된 모습

• "Mix &Match to Your Needs"라는 라벨 아래에 "Personalized Configuration"이라는 주석이 쓰여 있음 이 스케치는 유연성 과 개인의 취향 을 강조한 디자인 철학을 잘 보여줍니다.

2. Modular and removable design sketches (bottom right)

This sketch shows the idea of making the phone function a separate module so that it can be attached to or detached from the glasses legs as needed.

• Detachable: The phone module can be easily secured to the leg of your glasses using magnets or clips. The sketch depicts both the module being removed and attached.

• Various modules: Increase scalability by allowing you to select and attach modules with a variety of features, including cameras, additional batteries, and fitness trackers, as well as calling features.

• Custom Configuration: Users can configure their own custom glasses by combining the modules they want according to their needs and tastes. It technically depicted the creative design idea under the theme of 'Modular and Detachable Glasses Leg Phone.'

- Top left

• Illustration of three modules on the bridge of the glasses under the label "Detachable Modules":

• Phone Unit

• Camera Module

• Battery Pack (Additional Battery)

- Top right

• Under the label "Attach & Detach", scenes of modules being removed and attached are drawn side by side

• The module attachment method is described under the label "Magnetic Clip"

- the bottom

• The glasses are shown with the module attached, and the module is mounted on the right

• Annotated "Personalized Configuration" is written under the label "Mix & Match to Your Needs." The sketch highlights a design philosophy that emphasizes flexibility and individual tastes.

 

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

 

hoi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-28-골전도 스피커 스케치

 

4. 골전도 스피커 스케치 (오른쪽 상단)

이 스케치는 일반적인 이어폰 대신 골전도 기술을 활용하여 소리를 전달하는 아이디어를 보여줍니다.

• 골전도 패드: 안경 다리 끝부분(귀 뒤쪽)에 골전도 패드를 내장합니다. 스케치에는 이 패드가 "골전도 스피커"로 라벨링되어 있습니다.

• 고막 우회: 골전도 패드는 두개골 진동을 통해 소리를 내이로 직접 전달합니다. 따라서 귀를 막지 않아 주변 소리를 들으면서도 선명하게 통화할 수 있습니다.

• 착용감 개선: 귀 안에 이어폰을 넣을 필요가 없어 장시간 착용해도 피로감이 덜하고 편안한 착용감을 제공합니다.

이 스케치는 안경 다리에 전화기 기능을 통합하는 다양한 가능성을 탐구하고 시각화하는 첫 번째 단계입니다. 각 디자인 아이디어는 서로 다른 장단점을 가지고 있으며, 실제 제품 개발 단계에서는 기술적 실현 가능성, 사용자 경험, 디자인 미학 등 다양한 요소를 종합적으로 고려하여 최적의 솔루션을 찾아야 합니다.

 - 디테일 요약:

• 상단 우측

• "Bone Conduction Pad"이라는 라벨 아래에, "Behind the Ear", "Direct to Inner Ear"이라는 주석과 함께 귀 뒤에 위치한 골전도 스피커 의 확대 그림

중앙 좌측

• "No Earbuds Needed"라는 라벨 아래에 이어버드를 손으로 들고 있는 그림과, 그 옆에 이어버드가 필요 없음을 강조하는 X 표 가 그려져 있음

하단

• 안경을 착용 중인 측면 프로필 이 그려져 있고, 진동 파형이 머리쪽으로 향하는 그림

• "Clear Sound &Open Awareness"라는 주석, 이 스케치는 청각 경험의 혁신적인 가능성 을 탐구합니다. 골전도 기술은 귀를 막지 않으면서도 선명한 음질을 제공하고, 장시간 착용 시에도 피로감이 적은 장점이 있습니다.

4. Sketch bone conduction speaker (top right)

This sketch demonstrates the idea of using bone conduction technology to deliver sound instead of conventional earphones.

• Bone conduction pads: Embed a bone conduction pad at the end of the leg of the glasses (back of the ear). The sketch labels the pad as a "bone conduction speaker."

• Eardrum bypass: Bone conduction pads deliver sound directly to the inner ear through cranial vibrations. Therefore, it does not cover your ears, so you can talk clearly while listening to surrounding sounds.

• Improved fit: There is no need to put earphones inside the ear, providing less fatigue and a comfortable fit even when worn for a long time.

This sketch is the first step in exploring and visualizing the various possibilities of incorporating phone functionality into your glasses legs. Each design idea has different advantages and disadvantages, and in the actual product development stage, you need to find the best solution by comprehensively considering various factors such as technical feasibility, user experience, and design aesthetics.

- Detail Summary:

• Top right

• Under the label "Bone Conduction Pad", an enlarged view of the bone conduction speaker located behind the ear with the notes "Behind the Ear", "Direct to Inner Ear"

- Center left

• Under the label "No Earbuds Needed", there is a picture of holding the earbuds by hand, and an X next to it emphasizing that no earbuds are needed

- the bottom

• A picture with a side profile of wearing glasses and a vibration waveform facing the head

• With the annotation "Clear Sound & Open Awareness," this sketch explores the innovative possibilities of the auditory experience. Bone conduction technology provides clear sound quality without clogging the ears, and has the advantage of less fatigue even when worn for long periods of time.

 

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

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

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

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

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

 

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Choi Chul-joo’s desire formula, 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

 

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

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

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

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

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

A Cognitive-Psychoanalytic Interpretation of Linguistic Meaning and Subject Formation

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

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

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

 

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

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

� Cognitive Psychologist’s Perspective: Desire as Symbolic Simulation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

Accordingly, the conceptual abstractive design process is

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

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

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

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

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

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

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

 

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

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

Linguistic Data Biology (Aesthetics of Error) Design Methodology Process

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

1. Psychoanalytic Correspondence

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

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

2. Step-by-Step Sound Design Process

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

Goal: Establish the auditory baseline of systemic control.

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

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

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

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

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

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

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

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

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

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

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

 

■ Desire Structure Automation System Design Process

Step 1: Linguistic Data Mining of unconscious language structure

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

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

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

- Exterior Design Concept: Organic Morphing

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

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

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

Step 2: Abstract Sketching of the Rack

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

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

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

- Sketch Components

Top View Plan

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

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

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

Perspective View

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

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

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

Step 3: Hallucination's Event Continuity Construction

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

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

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

[Color Plan: Libidinal Spectrum]

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

1. Symbolic Order (Symbolic Order: I)

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

• 메인 컬러:Deep Prussian Blue &Frost White

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

2. LIBIDINAL ACCELERATION: D)

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

• 메인 컬러:Electric Magenta &Vivid Violet

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

3. Existential Critical Point Phase (Sublimation: i)

• Condition: Maximum speed reached and energy saturation.

• 메인 컬러:RGBW Aurora Spectrum &Digital Glitch Gold

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

Step 4: Digital Big Other Integration

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

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

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

[Weekly rendering key elements]

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

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

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

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

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

Step 5: Mirror Stage Materialization

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3. Libido Sync mode: interlock seat and sleep pod

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

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

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

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

Concept: Transforming abstract concepts into solid physical reality.

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

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

- Driver interface: The Libidinal Cockpit

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

1. Visual Design: Frequency Spectrum Display

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

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

2. Auditory Design: Roaring of Sawtooth Waves

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

 

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

- Philosophical Interpretation: Lacan and the Structure of Desire

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

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

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

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

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

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

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

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

- Mathematical interpretation: Abstract structure and nonlinearity

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

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

- a mechanical visualization of human desire

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

 

 Choi Chul-joo Pop-Art AAS Realism Product Design drawing《전화기 안경》-산산조각 난 현실 이전 (The Shattered Reality Within)-Titled "The Shattered Reality Within," the visual language structure contained in the glasses lens in the previous scene is a real flesh image. This scene is the result of the transfer of visual language structures in previous glasses lenses to material images of reality. The fragments of the user's inner desire are now fixed to the surface of reality, and the traces of emotion remain in a geometric structure and ruptured form. In this way, the visual narrative goes beyond the collapse of the symbolic world to the flesh painting of reality. In the next step, the fragments are stared at again, forming a scene in which the user imagines a new order.