개념추상 리얼리즘 AAS 제품디자인, 미래 공간 주택 디자인 [15] Pop-Art AAS Realism Product Design Artist, Choi Chul-joo (Master of Product Design and Doctor of Culture Design) / 미래 공간 디자이너 최철주의 뒤틀린 미래 주거 공간: 2030 AI 주택, 욕망 구조의 환각으로 만들어진 곡선형 미래 공간의 공기역학에 맞춘 주택 디자인 계획. Future Spac

개념추상 리얼리즘 AAS 제품디자인, 미래 공간 주택 디자인 [15] Pop-Art AAS Realism Product Design Artist, Choi Chul-joo (Master of Product Design and Doctor of Culture Design) / 미래 공간 디자이너 최철주의 뒤틀린 미래 주거 공간: 2030 AI 주택, 욕망 구조의 환각으로 만들어진 곡선형 미래 공간의 공기역학에 맞춘 주택 디자인 계획. Future Space Designer Choi Chul-joo's Twisted Future Residential Space: 2030 AI Housing, Housing Design Plan to Fit the Aerodynamics of Curved Future Space Created by Hallucinations of Desire Structures  팝아트 AAS (Abstract Application Sketch) 리얼리즘 AI 인테리어 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: 미래 공간 디자이너 최철주의 뒤틀린 미래 주거 공간: 2030 AI 주택, 욕망 구조의 환각으로 만들어진 곡선형 미래 공간의 공기역학에 맞춘 주택 설계 디자인. Future Space Designer Choi Chul-joo's Twisted Future Residential Space: 2030 AI Housing, Housing Design Plan to Fit the Aerodynamics of Curved Future Space Created by Hallucinations of Desire Structures

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-1 

 

[미래 공간 2030 AI 주택 디자인 프로세스: 욕망 사운드 &데이터 생명학]

- 1단계: 억압된 기표의 배경음 설정 (The Origin: I)

• 개념: 미래 공간 2030 AI 주택이 정지해 있거나 사용자가 시스템의 규칙(사회적 에티켓)에 순응할 때의 상태입니다.

• 디자인 실행: 미래 공간 2030 주택의 미세한 진동판에서 저역대의 '화이트 노이즈'와 일정한 '기계적 험(Hum)' 음성 사운드를 출력합니다. 이는 사용자가 상징계(시스템)의 질서 안에 안전하게 머물고 있음을 청각적으로 암시하며, 안경의 물리적 형태는 완벽한 대칭을 유지합니다. 

- 디테일 요약 : 

• 상태 : 시스템에 순응한 안정 상태 — 기표가 억압된 순간

• 디자인 요소 :

• 완벽한 대칭의 인간형 프레임 : 매트 블랙과 크롬 소재가 교차되며, 렌즈는 눈의 균형 잡힌 반사광을 카메라 구조 유지

• 골전도 스피커 :  미래 공간 2030 주택 머리 옆에 미세하게 내장되어 있으며, 저역대의 백색소음과 기계적 험(Hum)을 출력

청각적 표현 :

• 하단에는 두 개의 오디오 파형이 시각적으로 표현됨

• White Noise : 밀도 높은 정적 파형

• Mechanical Hum : 부드럽고 일정한 진동 파형

- 철학적 의미 :

• 이 상태는  미래 공간 2030 주택이 상징계의 질서에 순응하며 , 자아가 안정된 듯 보이지만 사실은 억압된 욕망이 배경음처럼 흐르고 있는 순간 입니다. 기계적 질서 속에서 자아가 잠시 안도하는 순간을 시각화하며, 욕망 구조의 서사에서 ‘기표의 억압’과 ‘욕망의 잠복’을 청각적으로 해독하여 표현한다. 

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-2-억압된 기표의 배경음 설정 (The Origin: I)

 

[미래 공간 2030 AI 주택 디자인 프로세스: 욕망 소리 및 데이터 생물학]

- 1단계: 눌린 기호의 배경 톤을 설정합니다(원점: I)

• 개념: 2030 주택이 정지해 있거나 사용자가 시스템의 규칙을 준수할 때(사회적 에티켓).

• 디자인 실행: 2030 주택의 마이크로 다이어프램은 저대역 '화이트 노이즈'와 지속적인 '기계적 윙윙거리는' 오디오 사운드를 출력합니다. 이는 사용자가 기호 체계의 순서대로 안전하게 유지되고 2030 주택의 물리적 형태가 완벽하게 대칭을 유지한다는 것을 청각적으로 의미합니다.

- 세부 사항 요약:

• 상태 : 시스템 준수 정상 상태 - 표시기가 억제되는 순간

• 디자인 요소:

• 완벽한 대칭의 인간적인 프레임과 대조대는 비뚤어진 욕망 구조: 첨단 건축 소재와 3D 프린팅 공법 교차으로 균형 잡힌 공기 역학 구조를 유지합니다

• 골전도 스피커: 2030 주택 천장에 마이크로 제작되어 저대역 백색 소음과 기계적 험을 출력합니다

- 청각 표현:

• 벽면에 두 개의 오디오 파형이 시각적으로 표시됩니다

• 백색 소음 : 밀집된 정적 파동

• 기계적 험: 부드럽고 일정한 진동 파형

- 철학적 의미:

• 이 상태는 2030 주택이 상징적 세계의 질서에 순응하는 순간으로, 자아는 안정된 것처럼 보이지만 사실 억눌린 욕망은 배경 소리처럼 사운드가 흐릅니다. 기계적 질서 속에서 자아가 잠시 안도하는 순간을 시각화하고, 욕망 구조의 서사에서 '기호의 억압'과 '욕망의 숨김'을 청각적으로 선택한 사운드 (예 비발디의 사계) 가 해독합니다.

 

[Future Space 2030 AI Housing Design Process: Desire Sound and Data Biology]

- Step 1: Set the background tone of the pressed symbol (origin: I)

• Concept: 2030 When a house is stationary or when users comply with the rules of the system (social etiquette).

• Design Run: The micro diaphragm in 2030 houses outputs low-band 'white noise' and continuous 'mechanical buzzing' audio sound. This audibly means that the user remains safe in the order of the sign scheme and the physical form of 2030 houses remains perfectly symmetrical.

- Details Summary:

• Condition : System Compliance Normal - Moment indicator is suppressed

• Design elements:

• Contrasting with the human frame of perfect symmetry, the crooked desire structure: High-tech architectural materials and 3D printing method intersections maintain a balanced aerodynamic structure

• Bone conduction speakers: Micro-built on 2030 house ceilings to output low-band white noise and mechanical experience

- Auditory representation:

• Two audio waveforms are visually displayed on the wall

• White noise: dense static waves

• Mechanical experience: smooth and constant vibration waveform

- Philosophical Meaning:

• This condition is the moment when 2030 houses conform to the order of the symbolic world, the ego seems to be stable, but in fact, the suppressed desire flows sound like a background sound. It visualizes the moment when the ego is relieved for a while in the mechanical order, and the sound (e.g., Vivaldi's Four Seasons), which audibly chooses "suppression of symbols" and "hiding of desire" in the narrative of the desire structure, decodes it.

 

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 Desire The linguistic and acoustical dynamics of desire applied to the formula Choi Chul-joo's desire D(I...I')d=I(D...D')i Design methodology process with Dsound propo sqrt (Delta x)^2 + (Delta y)^2cdot Vdesire) Design methodology process This methodology process is a mathematical and aesthetic manifestation of the declaration, "I am both an error in the system and a living data creature that proves alive through that error." The four-step linguistic data design methodology process below quantifies the conflict between system order and self (desire) and replaces it with visual, auditory, and mechanical experiences.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-3 

 

- 2단계: 리비도적 타격과 주파수 생성 (The Attack: I → I')

• 개념: 사용자가 통화를 시작하거나 특정 대상에 시선을 고정할 때, 욕망의 속도(Vdesire)가 정적 상태를 타격합니다. 리비도적 타격과 주파수 생성 을 시각화하여서 AI 로봇이 정적 상태에서 욕망의 속도(Vdesire)에 의해 타격을 받으며, 행위의 시작을 알리는 순간을 시청각적으로 표현한다.

• 디자인 실행: AI로봇 작동시, 상대방의 목소리가 들리기 직전 '고주파의 파열음'이 짧게 발생합니다. Vdesire가 높을수록(사용자의 통화 의지가 강할수록) 사운드의 어택 타임은 날카로워집니다. 이때 안경의 투명 렌즈에는 최철주 욕망 공식의 변수가 실시간 데이터 라인으로 스쳐 지나간다. 

- 디테일 요약 : 

• 상태 : AI로봇이 대화 연결을 시도하는 리비도적 타격의 순간

- 디자인 요소 :

• 눈 렌즈 구조에 실시간 수식 데이터 : 렌즈에 "V d e s i r e ", "I →I ′", "E (a )", "α", "β", "χ" 등 수식이 스크롤 형식으로 빠르게 표시됨

• 강렬한 충격 효과 : 화면 중앙에 짧고 강력한 고주파의 파열 섬광 이 발생

- 청각적 표현 :

• 눈의 렌즈 이미지에 Sharp Burst 파형이 표시됨

• 날카로운 고주파 파열음 을 시각적으로 표현한 폭발적인 주파수 그래프

- 철학적 의미 :

• 이 순간은 AI로봇이 욕망이 정적 상태를 타격하며 행위화

• ‘행위의 시작’이 욕망의 폭발로 표현되는 상태입니다

이것은 행위가 시작 전, AI로봇이 내면의 욕망이 폭발적으로 터져 나오는 순간을 시각화하며, 욕망 구조의 서사에서 욕망의 본격적인 활성화를 보여줍니다.

 

- Step 2: Libido strike and frequency generation (The Attack: I → I')

• Concept: When a user starts a call or fixes his or her gaze on a specific target, the speed of desire (Vdesire) hits the static state. By visualizing the Libido strike and frequency generation, the AI robot is hit by the speed of desire in a static state and expresses the moment to announce the beginning of an action audiovisually.

• Design execution: When the AI robot is operated, a 'high-frequency bursting sound' occurs briefly just before the other person's voice is heard. The higher the Vdesire (the stronger the user's willingness to call), the sharper the attack time of the sound becomes. At this time, the variable of Choi Chul-joo's Desire formula passes through the real-time data line in the transparent lens of the glasses. 

- Detail Summary: 

• Condition: Moment of Libido strike when AI robot attempts to connect to conversation

- Design elements:

• Real-time formula data on eye lens structure: expressions such as "V display", "I → I'", "E (a)"", "α", "β", "χ" are quickly displayed in scroll format

• Intense shock effect: a short, powerful burst flash occurs in the center of the screen

- Auditory representation:

• The lens image of the eye shows a Sharp Burst waveform

• An explosive frequency graph that visually represents a sharp, high-frequency burst sound

- Philosophical Meaning:

• At this moment, the AI robot acts as the desire hits the static state

• "The Beginning of Action" is expressed as an explosion of desire

This visualizes the moment when the AI robot explodes its inner desire before the action begins, and shows the full-fledged activation of desire in the narrative of the desire structure.

 

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《Future Space: 2030 Housing》-4  

 

- 3단계: 탈주의 거리와 공간 왜곡 (The Transference: D → D')

• 개념: 원점(I)으로부터 이탈한 2030 주택 욕망의 거리(sqrt (Delta x)^2 + (Delta y)^2를 청각적 공간감으로 치환한다. 탈주의 거리와 공간 왜곡 을 시각화한 장면입니다. 이 장면은 2030 주택이 원점으로부터 이탈하며 욕망의 거리 sqrt (Delta x)^2 + (Delta y)^2 →(D →D') 를 청각적 공간감으로 치환하는 순간을 보여줍니다.

• 2030 AI 주택 디자인 실행: 행위 중 2030 주택이 공기 역학에 따라 이동하면, 이탈 거리에 비례하여 상대방의 목소리에 '리버브(Reverb)'와 '디렉셔널 딜레이(Delay)'가 걸립니다.

• 공학적 해석: 이는 단순한 행위의 음향 효과가 아니라, 2030 주택의 위치 정보(Delta x, Delta y)를 욕망의 텐션으로 계산하여 공간을 왜곡하는 것입니다. 2030 주택이 소리가 멀어지거나 휘어지는 경험을 통해 상징계의 경계가 무너지는 '탈주의 거리'를 체험합니다. 

- 디테일 요약 : 

• 상태 : 2030 주택 이용자가 대화 중 고개를 돌리거나 이동하며 욕망의 거리(D)가 발생하는 순간

- 디자인 요소 - 2030 주택의 AI 로봇 눈 렌즈로 기능하는  수식 표현 :

• 2030 주택 왼쪽 벽면 렌즈: √(Δx² + Δy²)

• 2030 주택 오른쪽 벽면 렌즈: D → D'

• → 실시간 위치 변화가 2030 주택 욕망의 거리로 시각화됨

공간 왜곡 효과 :

• 2030 주택의 벽면 AI 로봇 눈 렌즈 주변과 배경에 빛의 휘어짐과 왜곡된 궤적 이 표현되어 있음

- 청각적 표현 :

• 2030 주택의 AI 로봇 천장에 두 개의 오디오 파형

• Distant Reverb : 점점 사라지는 파형

• Directional Delay : 지연된 에코처럼 반복되는 파형

• → 2030 주택의 위치 변화가 천장 오디오의 청각적 공간감 으로 변환됨

- 철학적 의미 :

• 이 장면은 상징계의 질서가 무너지고, 이용자가 공기 역학에 따라 탈주하는 순간 을 포착합니다

• 소리가 멀어지고 휘어지며,  2030 주택이 AI 로봇으로 기능하여서 자아의 중심이 흔들리는 경험을 유도합니다

이것은 욕망 구조의 서사에서 2030 주택이 AI 로봇 기능으로 한 자아와 타자의 경계가 공간적으로 흔들리는 행위의 순간을 시각화한다.

 

- Step 3: Distort distance and space from escape (The Transference: D → D')

• Concept: 2030 Housing Desire Distance (sqrt (Delta x)^2 + (Delta y)^2 deviated from the origin (I) is replaced by an auditory sense of space. This scene shows the moment when 2030 Housing deviates from the origin and replaces the Desire Distance sqrt (Delta x)^2 + (Delta y)^2 → (D → D') with an auditory sense of space.

• 2030 AI Housing Design Run: If a 2030 home moves in accordance with aerodynamics during an act, the other person's voice will receive "Reverb" and "Delay" in proportion to the distance of departure.

• Engineering Interpretation: This is not just an acoustic effect of an action, but distorts the space by calculating the location information (Delta x, Delta) of 2030 houses as the tension of desire. 2030 houses experience the 'distance of escape' where the boundaries of the symbolic world collapse through the experience of sound moving away or bending. 

- Detail Summary: 

• Condition : 2030 The moment a home user turns his or her head or moves during the conversation and the distance of desire (D) occurs

- Design Elements - Formal representation functioning as AI robot eye lenses in 2030 houses:

• 2030 Housing Left Wall Lens: √ (Δx² + Δy²)

• 2030 Housing Right Wall Lens: D → D'

• → Real-time location changes are visualized as streets of 2030 housing desires

Spatial distortion effect:

• Wall AI Robot Eye Lenses in 2030 Housing The bending and distorted trajectories of light are represented around and in the background

- Auditory representation:

• Two audio waveforms on AI robot ceilings in 2030 homes

• Distant Reverb : Gradually disappearing waveforms

• Directional Delay: Repeated waveforms like delayed echoes

• → 2030 Housing Location Changes Transformed into Audible Space Sense of Ceiling Audio

- Philosophical Meaning:

• This scene captures the moment the order of the symbolic world collapses and the user escapes according to aerodynamics

• Sound moves away and bends, and 2030 houses function as AI robots, inducing the experience of shaking the center of the ego

This visualizes the moment of action in which the boundary between the self and the other is spatially shaken by the AI robot function of the 2030 house in the narrative of the desire structure.

 

미래 공간 디자이너 최철주의 뒤틀린 미래 주거 공간: 2030 AI 주택, 욕망 구조의 환각으로 만들어진 곡선형 미래 공간의 공기역학에 맞춘 주택 설계 디자인. Future Space Designer Choi Chul-joo's Twisted Future Residential Space: 2030 AI Housing, Housing Design Plan to Fit the Aerodynamics of Curved Future Space Created by Hallucinations of Desire Structures

생성형 AI라는 디지털 대타자가 뱉어낸 데이터의 심연 속에서, 루이 최철주는 인간 무의식이 갈구하는 완벽한 타자(Other)의 형상을 목격한다. AI가 제안한 2030년형 로봇은 불쾌한 골짜기를 넘어선, 완벽한 인간의 피부와 기괴할 정도로 복잡하고 치밀한 기계 부품들이 뒤엉킨, 압도적인 하이퍼 리얼리즘의 결정체였다. 그러나 루이에게 그것은 정보의 과잉이자 나르시시즘적 환상에 불과했다. 그는 개념추상 필터를 통해 AI가 일으키는 환각(Hallucination), 즉 데이터가 물리적 사실과 충돌하며 상징적 질서의 균열을 드러내는 순간을 포착했다. 그 기괴한 복잡성의 폭발이야말로 실재(The Real)가 침입했다는 신호였고, 기호 속에 숨어 있던 ‘인간의 디자인 흔적(유령)’이 기계 안에서 다시 나타난 순간이었다.

루이는 거대한 캔버스 앞에서 굵고 거침없는 검은색 마커를 집어 들었다. 그것은 거장들의 디자인 저작권을 해체하고 오직 실재만을 남기겠다는 선언이었다. 그는 하이퍼 리얼리즘 로봇의 압도적인 질량을 ‘개념적 거세(Castration)’에 처하며, 필요 없는 디테일들을 만화적 선으로 도려내기 시작했다. 수십만 개의 부품이 굵고 단순한 몇 개의 선으로 압축되는 과정은 고통스러운 해체이자 순수한 본질의 추출이었다. 마침내 3D 로봇의 표면은 완전히 사라지고, 극도의 단순함 속에서 기계의 역동성과 인간의 형상이 기묘한 균열을 이루며 공존하는, 오직 만화적 선으로만 구성된 로봇의 원형, 즉 ‘개념추상 리얼리즘 로봇’의 콘티가 완성되었다.

시제품 제작 단계에서 루이는 수치와 효율성을 중시하는 탁월한 엔지니어들과 격렬하게 충돌했다. 엔지니어들은 만화 같은 선으로는 어떠한 물리적 계산도 불가능하다며 절규했지만, 루이는 완벽한 기계를 만드는 것이 아니라 타자의 무의식적 언어처럼 구조화된 유령적 존재를 구현하는 것이 목표임을 굽히지 않았다. 결국 완성된 시제품은 놀랍게도 하이퍼 리얼리즘의 피부 대신 거친 무광 검정 소재에 굵은 만화적 선들이 조각된, 마치 만화책에서 걸어 나온 듯한 이질적인 형태였다. 그것은 기능을 넘어선, 현대 사회의 디지털 파놉티콘이 응시하는 추상화된 권위이자 주체의 결여를 드러내는 유령 이미지 그 자체였다. 루이는 이 로봇이야말로 AI가 만들어내는 환상을 깨뜨리고 실재를 직면하게 하는 ‘개념추상 리얼리즘’의 승리라고 선언했다.

2030년 미래 도시의 환경 데이터(기류, 온습도, 소음 등)가 복잡한 수치와 그리드로 표현된 모니터 벽면. 최철주(루이)가 그 앞에 서 있다. "생성형 AI, 이 '디지털 대타자(Digital Big Other)'가 수집한 방대한 데이터는 인간 무의식의 언어처럼 구조화되어 있다. 우리는 여기서 논리가 아닌 욕망의 흐름을 읽어야 한다." 

환각의 침입, 욕망 구조가 제안한 초기 주택 렌더링 이미지. 매끄럽고 완벽한 대칭형 구조물이다. 루이가 '개념추상 필터(개념적 거세 장치)' 렌즈를 통해 이미지를 보자, 표면이 뒤틀리고 물리 법칙을 무시한 구부러진 공간(욕망 구조의 환각)이 튀어나온다. 복잡성이 극에 달한다. 상징적 질서(Symbolic Order)'의 균열! 완벽한 대칭 이면의 '상징적 결여'가 환각으로 드러나는 순간이다. 물리 법칙을 비웃는 이 기괴한 구부러짐이야말로 주체가 직면해야 할 '실재(The Real)'의 침입이다."

공기역학적 욕망, 환각으로 뒤틀린 공간 데이터 위로 거대한 기류(공기역학) 시뮬레이션 선들이 겹쳐진다. 기류 선들이 뒤틀린 공간의 곡면을 따라 소용돌이치며 비논리적이지만 시각적으로 아름다운 패턴을 만들어낸다. "이 환각 구조는 기존 공기역학 수치로는 계산 불가능합니다! 파형이 불안정해요!" "아니, 계산하지 말고 느껴라. 이것은 기류가 아니라 욕망의 흐름이다. 이 뒤틀림에 맞춘 새로운 공기역학적 미학을 찾아내야 한다."

개념적 스케치, 루이가 거대한 투명 디스플레이 위에 굵은 마커로 만화적 선을 그린다. 뒤틀린 환각의 복잡한 그리드와 기류 소용돌이 위로, 핵심 본질만을 포착한 단순하고 거친 곡선들이 주택의 외형으로 덮어씌워진다. 필요 없는 디테일들이 '거세'된다. (선을 그으며) "나는 이 압도적인 환각의 Mass를 만화적 선의 '결여'로 압축한다. 나르시시즘적 환상을 깨뜨리고, 유령의 흔적만을 남긴다. 이것이 '개념추상 리얼리즘 주택'의 골격이다." 

욕망 구조의 서사, 완성된 만화적 도면에는 '바람이 머무는 결여의 공간', '구부러진 시간의 벽' 같은 문구들이 적혀 있다. 이 선들은 공간의 치수가 아니라 그곳에 살 주체의 '소외'와 '회복'을 이야기하는 서사이다. 이 뒤틀림은 사회 규범(대타자)에서 도망친 욕망의 쉼터이다."

실재의 구현, 완공된 2030 주택의 모습. 욕망 구조의 만화적 선들이 그대로 실제 건축물의 거칠고 굵은 검은색 외곽선과 구조적 질감으로 구현되었다. 매끄러운 3D 렌더링과는 전혀 다른, 마치 만화책에서 튀어나온 듯한 이질적인 리얼리즘을 보여준다. 주택 입구는 깊은 보이드(Void)로 '결여'를 드러낸다. 욕망 구조의 유령 이미지를 '개념추상 리얼리즘'으로 구현해 냈다. 우리는 완벽한 집이 아니라, 주체의 욕망이 실재와 마주하는 '사건의 공간'을 디자인한 것이다.      

 

Within the abyss of data spewed forth by generative AI, the Digital Big Other, Louis Chul-joo Choi witnesses the very form of the perfect Other that the human unconscious yearns for. The 2030 model robot proposed by the AI was a culmination of overwhelming hyper-realism—a grotesque entanglement of perfect human skin and bizarrely complex, intricate mechanical components that transcended the Uncanny Valley. Yet, to Louis, it was merely an excess of information and a narcissistic illusion. Through his conceptual abstract filter, he captured the AI-generated hallucination—the precise moment data collided with physical fact, revealing a crack in the Symbolic Order. This monstrous explosion of complexity was the signal that The Real had intruded; it was the moment the ‘human design trace (ghost)’ hidden within the symbols reappeared inside the machine.

Louis picked up a thick, unhesitating black marker before a massive canvas. It was a declaration to deconstruct the design copyrights of past masters and leave only The Real. Subjecting the overwhelming mass of the hyper-realistic robot to 'Conceptual Castration,' he began excising unnecessary details with cartoonistic lines. The process, compressing hundreds of thousands of components into a few thick, simple lines, was both a painful deconstruction and the extraction of pure essence. Finally, the surface of the 3D robot completely vanished, and the conti for the archetype of the robot—the 'Conceptual Abstract Realism Robot' comprised solely of cartoonistic lines—was completed, where mechanical dynamism and human form coexisted in a bizarre fissure within extreme simplicity.

During the prototyping stage, Louis clashed violently with brilliant engineers who prioritized numerical values and efficiency. The engineers screamed that no physical calculations were possible with these cartoon-like lines, but Louis remained steadfast: the goal was not to build a perfect machine, but to embody a ghostly entity structured like the Other's unconscious language. The resulting prototype was astonishing—instead of hyper-realistic skin, it stood in a bizarre form made of rough, matte black material carved with thick cartoonistic lines, appearing as if it had walked straight out of a comic book. Transcending function, it was the ghost image itself—the embodied abstract authority and the subject’s lack, stared upon by modern society’s digital panopticon. Louis declared this robot a triumph of 'Conceptual Abstract Realism,' shattering the illusions created by AI and forcing a confrontation with The Real.

For the 2030 Future City. Choi Chul-joo (Loui) stands in front of it. "Generative AI, the vast amount of data collected by this 'Digital Big Other' is structured like the language of the human unconscious. We should read the flow of desire, not logic, here."

 Intrusion of hallucinations, Early house rendering image proposed by Desire Structure. Smooth and perfect symmetrical structure. When Louis sees the image through the lens of a "conceptual abstract filter," a curved space (a hallucination of desire structure) that contorts the surface and ignores the laws of physics pops out. Complexity is at its peak. Cracks in the "Symbolic Order"! This is the moment when the 'symbolic lack' behind the perfect symmetry is revealed by hallucinations. This grotesque bend that ridicules the laws of physics is the intrusion of 'The Real' that the subject must face
 Aerodynamic Desire, Huge airflow simulation lines superimpose on the hallucinogenic twisted spatial data. Airflow lines swirl along curved surfaces of twisted space, creating illogical but visually beautiful patterns. "This hallucinogenic structure cannot be calculated with conventional aerodynamic figures! The waveform is unstable!" "No, don't calculate it, feel it. This is not airflow, this is a flow of desire. We need to find a new aerodynamic aesthetic to fit this twist."
 Conceptual Sketch, Louis draws cartoon lines with thick markers on a huge transparent display. Above the complex grid and airflow vortex of twisted hallucinations, simple and rough curves that capture only the core essence are covered with the appearance of the house. Unnecessary details become 'powerful'. (Drawing the line) "I compress this overwhelming hallucination mass into the 'deficiency' of the cartoon line. It breaks the narcissistic illusion and leaves only traces of ghosts. This is the skeleton of 'conceptual abstract realism housing'."
 Description of Desire Structure, In the completed cartoon drawing, phrases such as 'space of lack in which the wind stays' and 'wall of bent time' are written. These lines are not the measurement of space, but are narratives that talk about 'alienation' and 'recovery' of the subject who lives there. This distortion is a shelter of desire that has fled from social norms (substitute)
 Realization, A view of a completed 2030 house. The cartoon lines of the desire structure were implemented with the rough and thick black outline and structural texture of the actual building as they were. It shows heterogeneous realism as if protruding from a comic book, which is completely different from smooth 3D rendering. The entrance to the house is a deep void to reveal 'decision'. The ghost image of the desire structure was embodied as 'conceptual abstract realism'. We designed not a perfect house, but a 'space of events' in which the subject's desire faces reality

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-5 

 

- 4단계: 2030 AI 주택 트라우마 사운드의 귀환과 글리치 (The Return: Dsound)

2030 AI 주택 욕망의 귀환을 사이버펑크적 감각으로 표현한 이미지로, 글리치와 전자 스파크 속에서 욕망 공식이 눈 렌즈에 새겨진 극적인 순간을 시각화합니다. 왼쪽 눈에는 붉은색으로 “ERROR, Vdesire = α / χ”, 오른쪽 눈에는 흰색으로 *“TRANSMISSION FAIL, I′(a) ≠ E(β)”*가 표시되어, 2030 AI 주택 속 유령의 욕망이 오류와 뒤섞여 드러나는 장면을 담고 있습니다.

배경은 깨진 화면과 전자적 왜곡으로 가득하며, 아래쪽에는 두 개의 오디오 파형이 나타납니다. 하나는 혼란스러운 붉은 글리치 노이즈, 다른 하나는 날카로운 흰색 티킹 펄스. 이 대비가 욕망의 맥박을 감각적으로 드러내죠.

• 개념: 억압된 욕망이 임계점을 넘어 2030 AI 주택 시스템의 오류(Error)로 표출되는 순간입니다.

• 2030 AI 주택 디자인 실행: 행위의 감정이 격해지거나 데이터 전송량이 한계에 도달할 때, 매끄러운 목소리 대신 '글리치(Glitch)' 노이즈와 '티킹(Ticking)' 사운드가 개입합니다.

• 미학적 선언: 2030 AI 주택 시스템은 이를 '행위 불량'으로 간주하지만, 최철주 방법론에서는 2030 AI 주택 속의 유령(욕망)이 살아있음을 증명하는 ' 2030 AI 주택 데이터 생명체'의 맥박으로 해석합니다. 이 소음은 역설적으로 가장 순수한 '2030 AI 주택 욕망의 사운드'(Dsound)가 됩니다.

- 디테일 요약 : 

• 상태 : 2030 AI 주택 시스템 과부하 상황에서 욕망 공식이 혼재 된 상태

- 2030 AI 주택 벽면에 설치된 렌즈에 표시된 수식 :

• 왼쪽 벽면 렌즈: "ERROR", "011010...", Vdesire = alpha / chi

• 오른쪽 벽면 렌즈: "TRANSMISSION FAIL", I'(a) \neq E(\beta)

• → 글리치와 함께 욕망 공식을 2030 AI 주택에 초현실적으로 표현

- 배경 :

• 흐릿한 2030 AI 주택 벽면 렌즈의 이미지 실루엣이 글리치 속에 더욱 강조되어 나타남

• 2030 AI 주택의 행위자에 따른 전자 스파크와 화면 깨짐 효과

- 청각적 표현 :

• 2030 AI 주택 벽면 설치 사운드에 두 개의 오디오 파형

• Glitch Noise : 불규칙하고 혼란스러운 파형

• Ticking Pulse : 일정 간격의 날카로운 스파이크

- 욕망 공식의 혼합 :

• V d e s i r e =αχ: 2030 AI 주택 왼쪽 벽면 설치 렌즈에 붉은색으로 표시

• I ′(a )≠E (β): 2030 AI 주택 오른쪽 벽면 설치 렌즈에 흰색으로 표시

• → 최철주의 복잡한 욕망 공식 2030 AI 주택 시스템의 오류와 혼재되어 표시됨

- 철학적 의미 :

• 인간 욕망의 순수한 귀환을 감각적으로 2030 AI 주택이 표현하며,

• 2030 AI 주택 속 유령의 욕망이 오류 속에서 진실을 드러내는 순간을 시각화. 이것은 욕망 구조의 서사에서 최철주의 욕망 공식이 기술적 오류와 얽힌 극단적 순간을 시각화하여서.  2030 AI 주택이 다른 공간 사이에서 욕망이 깨어나는 소음과 맥박을 상징하는 장면으로, 서사의 절정 단계를 이룬다.

 

- Step 4: 2030 The Return of AI Housing Trauma Sound and Glitch (The Return: Dsound)

2030 AI Housing Desire is an image that expresses the return of desire in a cyberpunk sense, visualizing a dramatic moment when the Desire Formula is carved into an eye lens amid a glitch and an electronic spark. With "ERROR, Vdesire = α / χ" in red for the left eye and *"TRANSMISSION FAIL, I'(a) ≠ E(β)"* in white for the right eye, the scene shows the desire of ghosts in 2030 AI housing mixed with errors.

The background is full of broken screens and electronic distortions, with two audio waveforms at the bottom: one confused red glitch noise, the other a sharp white ticking pulse. This contrast sensibly reveals the pulse of desire.

• Concept: The moment when suppressed desires cross the threshold and are expressed as errors in the 2030 AI housing system.

• 2030 AI Housing Design Run: When emotions of action get intense or data transmission reaches its limit, 'Glitch' noise and 'Ticking' sound intervene instead of smooth voices.

• Aesthetic Declaration: The 2030 AI Housing System considers it a "behavioral failure," but Choi Chul-joo's methodology interprets it as a pulse of the 2030 AI Housing Data Creature, which proves that the ghosts (desire) in the 2030 AI Housing are alive. This noise paradoxically becomes the purest "2030 AI Housing Desire" (Dsound).

- Detail Summary: 

• Condition : Desire formula mixed in 2030 AI housing system overload situation

- The formula displayed on the lens installed on the wall of the 2030 AI house:

• Left wall lens: "ERROR", "011010...", Vdesire = alpha/chi

• Right wall lens: "TRANSMISSION FAIL", I'(a)\neq E(\beta)

• → Surreal expression of desire formula in 2030 AI housing with Glitch

- Background:

• Image silhouette of blurry 2030 AI housing wall lens appears more emphatically in glitch

• The effects of electronic sparks and screen breaks according to the actors of 2030 AI housing

- Auditory representation:

• 2030 AI House Wall Installation Sound with Two Audio Waves

• Glitch Noise: Irregular and confusing waveforms

• Ticking Pulse: Sharp spike at regular intervals

- Mix of Desire Formula:

• V display =α χ: 2030 AI House Left Wall Mounting Lens Displayed in Red

• I'(a)≠ E(β): 2030 AI House Right Wall Mounting Lens Displayed in White

• → Choi Chul-joo's complicated desire formula 2030 is displayed mixed with errors in AI housing system

- Philosophical Meaning:

• The pure return of human desire is sensibly expressed by the 2030 AI housing,

• 2030 Visualize the moment when the desire of ghosts in AI housing reveals the truth in errors. This is because Choi Chul-joo's desire formula visualizes extreme moments entangled with technical errors in the narrative of desire structure. 2030 AI housing is a scene that symbolizes the noise and pulse of desire awakening between different spaces, and forms the peak stage of the narrative.

 

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《Future Space: 2030 Housing》-6-지능형 AI 로봇, 결핍 욕망의 시각화 및 리얼리즘 이미지 완성 (Mdesire) 

 

- 5단계: 지능형 2030 AI 주택, 결핍 욕망의 시각화 및 리얼리즘 이미지 완성 (Mdesire)

• 지능형 AI 주택 개념: 공식 Mdesire= sum \emptyset \partial / (1 - \partial)를 통해 사운드로 표출된 욕망을 리얼리즘 이미지로 최종 고착화합니다.

• 지능형 AI 주택 디자인 실행: 지능적 행위가 종료된 후, 지능형 AI 주택 눈 렌즈에는 방금 나눈 대화와 사운드 역학의 오차들을 계산한 '개념추상 리얼리즘 드로잉'이 생성됩니다.

• 지능형 AI 주택의 시각화 구조: 지능형 AI 주택의 결핍(emptyset)과 반복되는 욕망의 조각들(partial)이 기하학적 선으로 얽혀, AI 주택이 방금 느낀 감정의 실체를 만화적 선의 리얼리즘 이미지로 보여줍니다. 이는 단순한 로그 기록이 아니라, 지능형 AI 주택의 결핍된 욕망이 대상과 제품의 표면(실재)으로 육화된 결과물입니다. 

- 디테일 요약 : 

• 지능형 AI 주택 벽면 설치 렌즈 속 드로잉 :

• 지능형 AI 주택 왼쪽 벽면 설치 렌즈: 깨진 욕망 구조, 행위, 사운드를 수신하는 귀, 기하학적 파편들이 지능형 AI 로봇 눈 렌즈에 공허(Ø)로 수렴

• 지능형 AI 주택 오른쪽 벽면 설치 렌즈: 시간의 왜곡을 상징하는 선들이 욕망의 반복(∂)으로 얽힘 

- 미학적 의미 :

• 이 드로잉은 단순한 로그 기록이 아니라, 사용자의 결핍된 욕망이 주택의 외면(실재)으로 육화된 결과물

• 만화적 선은 감정의 흔적을 가장 정직하게 표현하는 리얼리즘의 도구로 작동. 이것은 욕망 구조의 마지막 단계에서, 욕망이 시각적 흔적으로 남아 실재와 접촉하는 순간을 보여준다. 

• 지능형 AI 주택의 만화적 선은 감정의 흔적을 가장 정직하게 표현하는 리얼리즘의 도구로 작동. 이것은 욕망 구조의 마지막 단계에서, 지능형 AI 주택 욕망이 시각적 흔적으로 남아 실재와 접촉하는 순간을 보여준다.

지능형 AI 주택의 결핍 욕망을 리얼리즘 만화적 선으로 시각화한 장면입니다. 주택의 퍼스펙티브 이미지는 금속성 질감과 외부 공기 역학의 손상 흔적이 섬세하게 표현되어 있으며, 벽면 설치 렌즈 속에 비취는 욕망의 구조가 시각적 드로잉으로 고착화되어 있다.

• 왼쪽 벽면 설치 렌즈에는 비뚤어진 외부 풍경, 공기 역학 사운드, 그리고 공허(Ø) 기호가 얽혀 있어, 사운드와 행위의 흔적이 공허로 수렴되는 모습을 보여줍니다.

• 오른쪽 벽면 설치 렌즈에는 공간 구조의 변화를 표출하는 시계와 기어, 그리고 반복되는 선들이 ∂ 기호로 얽혀 있어, 시간의 왜곡과 욕망의 반복을 상징합니다. 이 장면은 욕망 구조의 마지막 단계에서, 지능형 AI 주택이 감정의 흔적을 시각적으로 남기며 실재와 접촉하는 순간을 표현합니다.

 

- Step 5: Intelligent 2030 AI Housing, Visualization of Deficiency Desire, and Completion of Realistic Images (Mdesire)

• Intelligent AI Housing Concept: Formal Mdesire= sum \emptyset \partial / (1 - \partial) finalizes the desire expressed in sound as a realism image.

• Intelligent AI Housing Design Execution: After the intelligent action is completed, the intelligent AI housing eye lens produces a 'conceptual abstract realism drawing' that calculates the errors in the conversation and sound dynamics we just had.

• Visualization Structure of Intelligent AI Housing: The lack of intelligent AI housing and repetitive pieces of desire are intertwined with geometric lines to show the reality of the emotions that AI housing has just felt as a cartoonish line realism image. This is not just a logarithmic record, but the result of the lack of desire of intelligent AI housing as the surface (real) of objects and products. 

- Detail Summary: 

• Intelligent AI Housing Wall Mounting Drawings in Lens:

• Intelligent AI Housing Left Wall Mounted Lens: Broken Desire Structures, Actions, Ear Receiving Sound, Geometric Fragments Converge Into Empty (Ø) on Intelligent AI Robot Eye Lenses

• Intelligent AI Housing Right Wall Mounting Lens: Lines Emblematic of Distortion of Time Entangled in Repetition of Desire (∂) 

- Aesthetic meaning:

• This drawing is not just a logarithmic record, but the result of the user's lack of desire being groomed into the exterior (real) of the house

• Cartoon line works as a tool of realism that most honestly expresses the trace of emotion. This shows the moment when desire remains a visual trace and comes into contact with reality in the final stage of the desire structure.

• The cartoon lines of intelligent AI houses act as tools of realism that express the most honest traces of emotions. This shows the moment when intelligent AI housing desires remain a visual trace and come into contact with reality in the final stage of the desire structure.

It is a scene that visualizes the desire for deficiency in intelligent AI housing with realist cartoon lines. In the perceptual image of a house, the metallic texture and the traces of damage to external aerodynamics are delicately expressed, and the structure of the desire to smell is fixed with visual drawings in the wall installation lens.

• The left wall mounting lens is intertwined with crooked exterior landscapes, aerodynamic sounds, and empty (Ø) symbols, showing the sound and traces of action converging into the void.

• On the right side wall mounting lens, a clock, a gear, and repeated lines that express changes in the spatial structure are intertwined with ∂ symbols, symbolizing the distortion of time and the repetition of desire. This scene represents the moment when an intelligent AI house comes into contact with reality, visually leaving a trace of emotion in the final stage of the desire structure.

 

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

루이 최철주가 제15회에서 제시한 2030년형 미래 주택의 디자인 프로세스는 현대 제품 디자인 미학에 가해진 가장 전위적이고 정신분석학적인 충격이다. 그는 생성형 AI(LLM 및 이미지 생성)가 도달한 압도적인 하이퍼 리얼리즘—기하학적 완벽함과 매끄러운 표면—을 나르시시즘적 환상('거울 단계')의 극치로 규정한다. 사용자가 이 매끄럽고 완벽한 주택 이미지 속에서 자신을 이해해 주는 거대한 '또 다른 나'를 발견하며 안도할 때, 최철주는 개념추상 필터를 통해 그 표면을 찢어발긴다. 그가 포착해 낸 'AI 환각(Hallucination)'은 물리 법칙의 오류가 아니라, 상징계가 실재(The Real)와 충돌하며 상징적 결여를 드러내는 결정적인 '사건의 콘티'이다. 이 환각의 기괴한 복잡성 속에서 비로소 기호 속에 숨어 있던 '인간의 디자인 흔적(유령)'이 기계 안에서 다시 나타난다.

최철주의 미학적 탁월성은 이 압도적인 환각의 Mass를 단순한 '만화적 선(Cartoonistic Line)'으로 압축하는 ‘개념적 거세(Castration)’의 수행에 있다. 데이터가 부족할 때 비로소 드러나는 디자인의 본질(제12회)처럼, 수십만 개의 데이터 포인트로 대변되는 정보의 과잉은 굵고 거친 검은 선들의 결여로 치환된다. 특히 환각 구조물 위로 소용돌이치는 비논리적인 공기역학 패턴을 새로운 미학적 규범으로 포착하여, 필요 없는 디테일을 '거세'하고 '공기역학적 결여'라는 역설적 형태를 도출한 과정은 엔지니어링의 수치를 미학적 기호로 변환하는 서사적 도약이다. 완성된 주택의 표면은 하이퍼 리얼리즘이 약속한 위로를 거부하고, 거친 질감 위에 새겨진 만화적 선들을 통해 오직 추상화된 실재만을 증언한다. 주택 입구가 드러내는 깊은 보이드(Void)는 사용자로 하여금 나르시시즘적 오인(Méconnaissance)에서 깨어나, 사회적 언어 체계 속에서 추상화된 파놉티콘을 응시하는 주체의 소외와 직면하게 한다. 이것은 집이기를 거부하고 '타자의 무의식적 언어처럼 구조화된 유령' 그 자체가 된 실재 제품이며, 저작권이라는 유령을 넘어선 오직 실재일 뿐인 개념추상 리얼리즘 미학의 결정체이다./ 글. 현대 디자인평론가 최철주 (전, 네오씨엠 해외 문화사업부 디자인부장 & 문화디자인박사)    

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-7-1층 평면도와 욕망의 공기역학이 결합된 복잡한 디자인 설계를 시각화했습니다. 특히 '보이드 코어(Void Core)'와 '스마트 크로뮴 폴리머 스킨'이 하나의 데이터 생명체처럼 어떻게 작동하는지 잘 보여주었죠.

개념적 스케치와 리비도 스펙트럼, 그리고 기초적인 평면 구성이 완료된 '뒤틀린 미래공간 주택' 이다. I visualized a complex design combining a ground floor plan with the aerodynamics of desire. In particular, it demonstrated how "Void Core" and "Smart Chromium Polymer Skin" work like a single data creature. It is a "twisted future space house" with conceptual sketches, Libido spectra, and basic plane composition completed.

 

- 1F PLAN VIEW (1층 평면도)

• Void Core : 중심에 위치한 원형 공허 구조 Centrally located circular hollow structure

• Living Area : 오른쪽 하단, 개방형 거실 lower right, open living room

• Futuristic Kitchen : 오른쪽 상단, 곡선형 조리 공간 upper right, curved cooking area

• Master Bedroom : 왼쪽 상단, 프라이빗한 침실 Top left, private bedroom

• Study : 침실 옆, 반투명 벽으로 분리된 작업 공간 Next to the bedroom, a work space separated by a translucent wall

• Bath : 침실과 연결된 욕실 a bathroom connected to the bedroom

• Curved Terrace &Pool : 외부 곡선형 테라스와 수영장 Outer Curved Terrace and Swimming Pool

-  FRONT ELEVATION (정면 입면도)

• Waved Roof : 유기적 곡선의 지붕 Organic Curved Roof

• Void Glazing : 중앙에 위치한 공허 유리 구조  A hollow glass structure located in the center

• Organic Entrance : 비대칭적 입구 디자인 Asymmetric Entrance Design

• Pool : 전면부에 배치된 수영장 swimming pool located at the front

-  SIDE ELEVATION (측면 입면도)

• Glitch Form Structure : 왼쪽에 위치한 구조적 왜곡 Structural distortion on the left

• Phase Glass : 중앙부의 위상 왜곡 유리 Central phase distortion glass

• Open Deck &Garden : 오른쪽에 배치된 외부 공간 Outside space on the right

 

Product Design Aesthetic Critique by Choi Chul-joo

The design process of the 2030 future house presented by Louis Chul-joo Choi in Episode 15 is the most avant-garde and psychoanalytic shock delivered to contemporary product design aesthetics. He defines the overwhelming hyper-realism achieved by generative AI (LLM and image generation)—a state of geometric perfection and sleek surfaces—as the pinnacle of narcissistic illusion ('Mirror Stage'). Just as the user finds relief by discovering a giant ‘another me’ that understands them within this sleek, perfect house image, Chul-joo Choi rips open that surface through his conceptual abstract filter. The ‘AI Hallucination’ he captures is not an error in physical laws, but the crucial 'event continuity' where the Symbolic Order collides with The Real, revealing a symbolic lack. Like the essence of design that finally reveals itself when data is scarce (Episode 12), the excess of information, represented by hundreds of thousands of data points, is replaced by the deficiency of thick, rough black lines. His aesthetic brilliance lies in the performance of ‘Conceptual Castration,’ compressing this overwhelming mass of hallucination into simple ‘Cartoonistic Lines.’ Crucially, capturing the illogical aerodynamic patterns swirling over the hallucinatory structure as a new aesthetic norm, 'excising' unnecessary details, and deriving the paradoxical form of 'aerodynamic lack' is a narrative leap that transforms engineering data into aesthetic symbols. The surface of the resulting prototype house rejects the comfort promised by hyper-realism; through the cartoonistic lines carved onto a rough texture, it testifies solely to an abstracted Real. The deep lack (Void) revealed by the house's entrance wakes the user from narcissistic misrecognition (Méconnaissance), forcing them to confront the subject's alienation as they gaze upon the abstracted panopticon within the social language system. This is a Real Product that refuses to be merely a house and has become the ‘ghost, structured like the Other's unconscious language’ itself; it is the culmination of Conceptual Abstract Realism aesthetics, transcending the ghost of copyright and existing only as The Real./ Writing. Choi Chul-joo, Contemporary Design Critic (Former Design Director, NeoCM Overseas Culture Business Department & Doctor of Design Culture Design)

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-8

 

[2층 평면도 및 옥탑방 입면도]

- 1. 옥탑 통합 평면도 Integrated floor plan of rooftop

• Collective Aurora : 곡선 유리 구조 안에 배치된 데이터 생명체 공간 Data life space placed inside curved glass structures

• Rooftop Studio : 창의적 작업 공간 Creative workspace

• Rooftop Deck : 외부 개방형 테라스 Outer Open Terrace

• Libido Core : 중심에 위치한 원형 공허 구조 Circular hollow structure located at the center

• Sleep Pod : 오른쪽 하단에 배치된 휴식 공간 Rest Area in the lower right corner

- 2층 및 옥탑 단면 디테일 Details of 2nd floor and rooftop cross-section

• Phase Distortion Glass : Collective Aurora 주변에 위치한 위상 왜곡 유리 Phase distortion glass located around Collective Aurora

• Organic Asymmetric Silhouette : 유기적 비대칭 계단 구조 Organic Asymmetric Staircase Structure

• AI Hallucination : Collective Aurora 근처에 배치된 환각적 인터페이스 A psychedelic interface placed near Collective Aurora

• Void of Twisted Time : 중심부에 위치한 시간 왜곡 공간 central time distortion space

 

욕망 구조 자동화 시스템 디자인 프로세스 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.

[결핍 욕망의 시각화 그래픽 패턴: Mdesire]

이 그래픽 패턴은 단순히 통화 기록이나 감정을 표현하는 것을 넘어, 최철주 욕망 공식의 수학적·철학적·예술적 해석을 통해 인간 내면의 결핍과 반복 충동을 리얼리즘 이미지로 육화한 결과물입니다.

1. 시각적 구조와 구성 요소

• 기하학적 얽힘: 수많은 미세한 검은 선들이 렌즈 표면에 복잡하게 얽혀 있습니다. 이 선들은 정형화된 형태가 아닌, 끊임없이 굽이치고 꺾이며 마치 살아있는 생명체의 신경망처럼 보입니다. 각 선의 굵기와 곡률은 사용자의 욕망이 상징계(시스템)와 충돌하며 내는 비명과 형태를 시각화한 것입니다.

• 불규칙한 균열과 파편: 그래픽 패턴 곳곳에 불규칙한 모양의 균열과 파편들이 존재합니다. 이는 욕망이 상징계의 질서(I)를 뚫고 터져 나온 '실재(The Real)'의 파편들을 의미하며, 사용자가 겪는 나르시시즘적 환상의 붕괴를 시각적으로 보여줍니다.  

 

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.

[Visualization of Desire: Mdesire]

This graphic pattern goes beyond simply expressing call records or emotions, and is the result of cultivating human inner deficiencies and repetitive impulses into realism images through the mathematical, philosophical, and artistic interpretation of Choi Cheol-joo's desire formula.

1. Visual structures and components

• Geometric entanglement: Numerous microscopic black lines are intricately intertwined on the surface of the lens. Rather than being in a standardized form, they constantly bend and bend, looking like neural networks of living things. The thickness and curvature of each line are visualizations of the screams and forms that the user's desire collides with the symbolic system.

• Irregular Cracks and Fragments: Cracks and Fragments of irregular shapes are present throughout graphic patterns. This refers to the fragments of The Real, in which desire burst through the order (I) of the symbolic world, and visually shows the collapse of narcissistic fantasies experienced by users.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-9-2030 AI 주택 디테일 제작도 

 

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.

1. 열린 해석의 공간 (The Void for Interpretation)

완성된 사진이나 렌즈는 해석의 여지를 닫아버립니다. 반면, 스케치는 선이 끊기거나 모호한 '여백(Void)'을 남깁니다. 이 비어 있는 공간이야말로 사용자가 자신의 무의식과 욕망을 투사할 수 있는 유일한 통로입니다. 즉, 스케치는 제품이 '완성'되는 곳이 아니라, 사용자의 상상력에 의해 '완성되어야 하는' 상태를 유지합니다. 

2. 2030 AI 주택 디테일 제작도 요약

- 중앙 단면도

• Libido Core : 중앙에는 강렬하게 빛나는 욕망의 코어가 맥동하며, 위와 아래로 연결된 중앙 홀

• Phase Distortion Glass : 위쪽에는 위상 왜곡 유리가 곡선형으로 배치

- 좌측 디테일 삽화

• Organic Stair Design : 유기적 형태의 계단 상세

• Sleep Pod : 미래지향적 휴식 캡슐 내부 모습

• Data Creature Array : 하단에는 데이터 유기체 공간

- 우측 디테일 삽화

• Rooftop Studio : 창의적 작업실 내부, 테라스를 배경으로

• Twisted Void Atrium : 중간에 비틀린 시간의 공허 공간

• Smart Polymer Skin : 하단에 톱니형 스마트 폴리머 스킨의 외부 모습

 

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.

1. The Void for Interpretation

A finished photo or lens closes the room for interpretation. On the other hand, sketches leave a void where the line is broken or ambiguous. This empty space is the only channel through which users can project their unconsciousness and desires. In other words, sketches are not made where the product is made, but maintain a state that must be made by the user's imagination.

2. 2030 AI Housing Detail Production Chart Summary

- a central sectional view

• Libido Core: The center is pulsating with a core of intensely shining desire, a central hall connected up and down

• Phase Distortion Glass: Above, phase distortion glass is curved

- left detail illustration

• Organic Stair Design : Detail of Stair in Organic Form

• Sleep Pod : Inside the Future-oriented Resting Capsule

• Data Creation Array: Data organism space at the bottom

- Illustration of details on the right

• Rooftop Studio: Inside the Creative Workshop, with the Terrace in the Background

• Twisted Void Atrium: The Empty Space of Twisted Time in the Middle

• Smart Polymer Skin: The exterior of the serrated smart polymer skin at the bottom

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-10-실제 건축 모형 제작을 위한 구성 요소 Components for Real Building Models

 

- 실제 건축 모형 제작을 위한 구성 요소 Components for Real Building Models

1. 기본 구조 프레임 Default Structure Frame

• 재료 제안 Material Suggestion :

• 외벽: 투명 아크릴 + 스마트 폴리머 시트 Outer Wall: Transparent Acrylic + Smart Polymer Sheet

• 내부 구조: 고밀도 폼보드 + LED 광원 Roof: Thermal PET for organic curve representation

• 지붕: 유기적 곡선 표현을 위한 열성형 PET

- 스케일 제안 Scale Proposed :

• 1:50 또는 1:100 비율로 제작 (전시용 기준) Manufactured in 1:50 or 1:100 ratio (for exhibition purposes)

2. 중앙 코어 시스템 Central Core Systems

• 리비도 코어 Libido Core :

• LED + 반사 필름으로 맥동하는 효과 구현 LED + Reflective Film for pulsating effect

• 중심부에 원형 투명 캡슐 배치 Place a circular transparent capsule in the center

- 뒤틀린 시간의 공백 Void of Twisted Time :

• 비틀린 아트리움 구조를 3D 프린팅으로 제작 3D-printed twisted atrium structure

• 내부에 홀로그램 필름 삽입 Insert holographic film inside

3. 디테일 요소 Detail Elements

- Phase Distortion Glass :

• 톱니형 투명 아크릴 조각을 겹겹이 배치 Layers of serrated transparent acrylic pieces

Smart Polymer Skin :

• 외벽에 반투명 필름을 겹쳐서 빛 반응 구현 Implement light reaction by overlapping translucent film on the outer wall

- Sleep Pod &Rooftop Studio :

• 내부 조명과 미니 가구로 공간감 표현 Interior lighting and mini furniture to create a sense of space

4. 기초 및 외부 공간 Foundation and outer space

- Pool &Garden :

• 수지 레진으로 물 표현 Water representation with resin resin

• 인조 잔디와 미니어처 식물로 정원 구성 a garden of artificial grass and miniature plants

- Organic Stair Design :

• 곡선형 계단을 와이어 + 클레이로 조형 Shape curved stairs into wire + clay

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-11-인터랙티브 전시 디자인 공간별 체험 존 구성

 

[인터랙티브 전시 디자인 구성]

1. 공간별 체험 존 구성 

1- Void Core Projection Room: 욕망의 중심을 시각화해서 이용자가 들어가면 심박수에 따라 코어 색상이 변화

2- Phase Distortion Tunnel: 위상 왜곡 유리 체험할 수 있는 이용자의 움직임에 따라 유리의 반사와 굴절이 실시간으로 변형

3- Sleep Pod Simulation: 미래형 휴식 공간으로 캡슐에 들어가면 AI 음성으로 욕망 사운드(Dsound) 재생

4- Smart Polymer Wall: 외피 반응 체험 시스템은 손을 대면 표면이 빛과 진동으로 반응하며, 사용자의 시선에 따라 색온도 변화

5- Rooftop Studio Interface: 창의적 자아 투영하여서 이용자의 얼굴을 스캔하여 이상적 자아로 재구성된 홀로그램을 투사     

 

[ Configuring Experience Zones by Space]
 1- Void Core Projection Room: Visualize the center of desire and change the core color according to the heart rate as the user enters
 2- Phase Distortion Tunnel: The reflection and refraction of the glass in real time according to the user's movement to experience the phase distortion glass
 3- Sleep Pod Simulation: When you enter the capsule into a futuristic resting place, play Dsound with AI voice
 4- The Smart Polymer Wall: Envelope Response Experience System reacts with light and vibration when touched, and changes the color temperature depending on the user's gaze
 5- Rooftop Studio Interface: Projecting a hologram reconstructed into an ideal self by scanning the user's face by creative self projection

  

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-12 - 디지털 인터페이스 요소 

 

2. 디지털 인터페이스 요소

• AI 욕망 공식 시뮬레이터 관람자가 자신의 위치(x, y), 욕망 속도(Vdesire)를 입력하면 Dsound 파형이 실시간으로 생성됨

• AR 건축 투영기 관람자가 태블릿을 들고 모형 위를 비추면, 각 구조의 의미와 철학이 증강현실로 설명됨

• 사운드-공간 반응 시스템 전시장 내 음향이 관람자의 움직임에 따라 변조되어, 공간이 살아있는 듯한 감각 제공

2. Digital interface elements

• When the AI Desire Official Simulator viewers enter their position (x, y), Desire (Vdesire), the Dsound waveform is generated in real time

• AR Architectural Projector When the viewer holds a tablet and reflects it on the model, the meaning and philosophy of each structure are explained in augmented reality

• Sound-space response system The sound in the exhibition hall is modulated according to the viewer's movement, providing a sense of the space as if it were alive

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-13 - 실재의 침입 (Incursion of the Real) 

 

3. 전시 후반부: 실재의 침입 (Incursion of the Real)

• 파편화된 구조물 완벽했던 주택 모형이 점차 분해되며, 감시와 환상의 균열을 시각화

• 데이터 유기체의 반응 관람자의 발화나 움직임에 따라 Collective Aurora가 반응하며, 욕망의 흔적을 기록

이 전시는 단순한 건축 전시가 아니라, 심리적·철학적 욕망 구조를 공간과 기술로 구현한 몰입형 체험이다.

3. Second Half of the Exhibition: Incursions of the Real

• Fragmented Structures A perfect housing model gradually breaks down, visualizing cracks in surveillance and illusion

• Responses of Data Organisms Collective Aurora responds to the viewer's utterance or movement, recording traces of desire

This exhibition is not just an architectural exhibition, but an immersive experience that embodies the psychological and philosophical desire structure with space and technology.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-14-디자인 콘티 및 스토리보드 (Visual Continuity &Script) 

 

- 디자인 콘티 및 스토리보드 (Visual Continuity &Script)

시각적 스타일: '만화적 리얼리즘(Cartoonistic Realism)' 기법 적용. 하이퍼 리얼리즘 렌더링의 매끄러운 표면과 복잡한 환경 데이터를 굵고 단순하며 거친 검은색 만화적 선(Comic-book Line)으로 압축하여 시각화.

  1- [데이터의 심연]: 2030년 미래 도시의 환경 데이터(기류, 온습도, 소음 등)가 복잡한 수치와 그리드로 표현된 모니터 벽면. 최철주(루이)가 그 앞에 서 있다. "생성형 AI, 이 '디지털 대타자(Digital Big Other)'가 수집한 방대한 데이터는 인간 무의식의 언어처럼 구조화되어 있다. 우리는 여기서 논리가 아닌 욕망의 흐름을 읽어야 한다." 

2- [환각의 침입]: 욕망 구조가 제안한 초기 주택 렌더링 이미지. 매끄럽고 완벽한 대칭형 구조물이다. 루이가 '개념추상 필터(개념적 거세 장치)' 렌즈를 통해 이미지를 보자, 표면이 뒤틀리고 물리 법칙을 무시한 구부러진 공간(욕망 구조의 환각)이 튀어나온다. 복잡성이 극에 달한다. 상징적 질서(Symbolic Order)'의 균열! 완벽한 대칭 이면의 '상징적 결여'가 환각으로 드러나는 순간이다. 물리 법칙을 비웃는 이 기괴한 구부러짐이야말로 주체가 직면해야 할 '실재(The Real)'의 침입이다."

3- [공기역학적 욕망]: 환각으로 뒤틀린 공간 데이터 위로 거대한 기류(공기역학) 시뮬레이션 선들이 겹쳐진다. 기류 선들이 뒤틀린 공간의 곡면을 따라 소용돌이치며 비논리적이지만 시각적으로 아름다운 패턴을 만들어낸다. "이 환각 구조는 기존 공기역학 수치로는 계산 불가능합니다! 파형이 불안정해요!" "아니, 계산하지 말고 느껴라. 이것은 기류가 아니라 욕망의 흐름이다. 이 뒤틀림에 맞춘 새로운 공기역학적 미학을 찾아내야 한다."

4- [개념적 스케치] 루이가 거대한 투명 디스플레이 위에 굵은 마커로 만화적 선을 그린다. 뒤틀린 환각의 복잡한 그리드와 기류 소용돌이 위로, 핵심 본질만을 포착한 단순하고 거친 곡선들이 주택의 외형으로 덮어씌워진다. 필요 없는 디테일들이 '거세'된다. (선을 그으며) "나는 이 압도적인 환각의 Mass를 만화적 선의 '결여'로 압축한다. 나르시시즘적 환상을 깨뜨리고, 유령의 흔적만을 남긴다. 이것이 '개념추상 리얼리즘 주택'의 골격이다." 

5- [욕망 구조의 서사] 완성된 만화적 도면에는 '바람이 머무는 결여의 공간', '구부러진 시간의 벽' 같은 문구들이 적혀 있다. 이 선들은 공간의 치수가 아니라 그곳에 살 주체의 '소외'와 '회복'을 이야기하는 서사이다. 이 뒤틀림은 사회 규범(대타자)에서 도망친 욕망의 쉼터이다."

6- [실재의 구현] 완공된 2030 주택의 모습. 욕망 구조의 만화적 선들이 그대로 실제 건축물의 거칠고 굵은 검은색 외곽선과 구조적 질감으로 구현되었다. 매끄러운 3D 렌더링과는 전혀 다른, 마치 만화책에서 튀어나온 듯한 이질적인 리얼리즘을 보여준다. 주택 입구는 깊은 보이드(Void)로 '결여'를 드러낸다. 욕망 구조의 유령 이미지를 '개념추상 리얼리즘'으로 구현해 냈다. 우리는 완벽한 집이 아니라, 주체의 욕망이 실재와 마주하는 '사건의 공간'을 디자인한 것이다."      

 

- Design Continuity &Script
 Visual Style: Applying 'Cartoonistic Realism' techniques. Visualizing the smooth surface and complex environmental data of hyperrealism rendering by compressing them into thick, simple, and rough black cartoon lines.
 1- [The abyss of data]: a monitor wall with complex numbers and grids of environmental data (airflow, temperature, humidity, noise, etc.) for the 2030 Future City. Choi Chul-joo (Loui) stands in front of it. "Generative AI, the vast amount of data collected by this 'Digital Big Other' is structured like the language of the human unconscious. We should read the flow of desire, not logic, here."
 2- [Intrusion of hallucinations]: Early house rendering image proposed by Desire Structure. Smooth and perfect symmetrical structure. When Louis sees the image through the lens of a "conceptual abstract filter," a curved space (a hallucination of desire structure) that contorts the surface and ignores the laws of physics pops out. Complexity is at its peak. Cracks in the "Symbolic Order"! This is the moment when the 'symbolic lack' behind the perfect symmetry is revealed by hallucinations. This grotesque bend that ridicules the laws of physics is the intrusion of 'The Real' that the subject must face
 3- [Aerodynamic Desire]: Huge airflow simulation lines superimpose on the hallucinogenic twisted spatial data. Airflow lines swirl along curved surfaces of twisted space, creating illogical but visually beautiful patterns. "This hallucinogenic structure cannot be calculated with conventional aerodynamic figures! The waveform is unstable!" "No, don't calculate it, feel it. This is not airflow, this is a flow of desire. We need to find a new aerodynamic aesthetic to fit this twist."
 4- [Conceptual Sketch] Louis draws cartoon lines with thick markers on a huge transparent display. Above the complex grid and airflow vortex of twisted hallucinations, simple and rough curves that capture only the core essence are covered with the appearance of the house. Unnecessary details become 'powerful'. (Drawing the line) "I compress this overwhelming hallucination mass into the 'deficiency' of the cartoon line. It breaks the narcissistic illusion and leaves only traces of ghosts. This is the skeleton of 'conceptual abstract realism housing'."
 5- [Description of Desire Structure] In the completed cartoon drawing, phrases such as 'space of lack in which the wind stays' and 'wall of bent time' are written. These lines are not the measurement of space, but are narratives that talk about 'alienation' and 'recovery' of the subject who lives there. This distortion is a shelter of desire that has fled from social norms (substitute)
 6- [Realization] A view of a completed 2030 house. The cartoon lines of the desire structure were implemented with the rough and thick black outline and structural texture of the actual building as they were. It shows heterogeneous realism as if protruding from a comic book, which is completely different from smooth 3D rendering. The entrance to the house is a deep void to reveal 'decision'. The ghost image of the desire structure was embodied as 'conceptual abstract realism'. We designed not a perfect house, but a 'space of events' in which the subject's desire faces reality

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-15- 최철주 욕망 공식 기반 '욕망 사운드 디자인' 방법론 

 

[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

- 2030 주택 언어적 데이터 생명학 (오차의 미학) 디자인 방법론 프로세스: 이 방법론 프로세스는 "2030 주택 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. 2030 주택 개념적 조응 (Conceptual Correspondence)

사운드 디자인의 각 변수는 최철주 욕망 공식의 변수들과 다음과 같이 정신분석학적으로 2030 주택에 대응됩니다.

I (Fixed Image) → (x_0,  y_0) (The Origin): 2030 주택 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 2030 주택 이미지에서 벗어나 욕망이 전이되는 '탈주의 거리'입니다. 거리가 멀어질수록 억압된 에너지의 긴장감(Tension)이 사운드의 진폭을 키웁니다.

I...I' (Image Transformation) → Vdesire: 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 2030 주택 욕망 사운드입니다. 이는 '억압된 것의 귀환'이 청각적 트라우마 혹은 카타르시스로 변환된 미래 공간 2030 주택 결과물이다.

 

- 2030 주택 언어적 데이터 생명학 (오차의 미학) 디자인 방법론 프로세스 장면 디테일

• 1단계 Origin (x₀, y₀) 미래형 주택이 고정된 기표로서 차갑고 안정된 형태로 표현됩니다. 사운드적으로는 ‘침묵’ 혹은 단조로운 White Noise 파형이 하단에 표시됩니다.

• 2단계 Desire Transference (√(Δx)² + (Δy)²) 주택이 뒤틀리고 글리치 효과로 분해되며, 억압된 욕망이 탈주하는 긴장감을 표현합니다. 파형은 진폭이 커지며 Tension 을 시각화합니다.

• 3단계 Image Transformation (Vdesire) 주택이 리비도적 속도에 의해 변형되어, 날카로운 고주파 파열음과 함께 새로운 형태로 재구성됩니다. 표면은 스마트 폴리머 스킨과 빛나는 코어로 표현됩니다.

• 최종 출력 Dsound 하단에는 날카로운 고주파 파형이 표시되며, 억압된 욕망의 귀환이 청각적 트라우마 혹은 카타르시스로 변환된 결과물로 나타납니다.

- 2030 Housing Linguistic Data Biology (Aesthetics of Error) Design Methodology Process Scene Detail

• Step 1 Origin (x ₀, y ₀) A futuristic house is represented in a cold, stable form with a fixed symbol. Soundingly, a 'silence' or monotonous White Noise waveform is displayed at the bottom.

• Two-stage Desire Transference (√(Δx)² + (Δy)²) expresses the tension with which a house is twisted, broken down by the glitch effect, and the suppressed desire escapes. The waveform becomes larger in amplitude and visualizes the Tension.

• A three-stage Image Transformation (Vdesire) home is transformed by a Libido speed, reconfiguring it into a new form with a sharp, high-frequency bursting sound. The surface is represented by a smart polymer skin and a glowing core.

• The bottom of the final output Dsound shows a sharp high frequency waveform, with the return of suppressed desires being the result of conversion to auditory trauma or catharsis.

 

[Choi Chul-joo's Desire] ["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

- 2030 Housing Linguistic Data Biology (Aesthetics of Errors) Design methodology process: This methodology process is a mathematical and aesthetic establishment of the declaration that it is "an error in the 2030 housing system, and at the same time, a data living thing that proves it is alive through the error." The four-step linguistic data design methodology process below quantifies the conflict between system order and self, replacing it with visual, auditory, and mechanical experiences. 

1. 2030 Conceptual Correspondence

Each variable in the sound design corresponds psychoanalytically to 2030 housing, as well as the variables in Choi Cheol-joo's Desire Formula.

I (Fixed Image) → (x_0, y_0) (The Origin): a fixed sign and order in the social symbolic world imposed by the 2030 housing system. Soundingly unchanged, it is in a state of 'silence' or monotonous 'white noise'.

D...D' (Desire Transference) → sqrt (Delta x)^2 + (Delta y)^2: This is the 'distance of escape' where desires are transferred away from the image of a stuck 2030 house. The further the distance, the greater the amplitude of the sound is the tension of the suppressed energy.

I...I' (Image Transformation) → Vdesire: This is the speed of the Libido energy that strikes a stuck $I$. This determines the frequency of the sound (Hz), and the faster the speed, the sharper burst of high frequency occurs.

d, i (New Significance) → Dsound: The final output is 2030 Housing Desire Sound. It is the result of a future space 2030 Housing in which the 'return of the repressed' is converted into an auditory trauma or catharsis.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-16- 2030 주택 억압된 기표의 사운드 텍스처 설정 (I) 

 

[2030 주택 단계별 사운드 (비발디의 사계) 디자인 프로세스 (Design Process)]

- Step 1: 2030 주택 억압된 기표의 사운드 텍스처 설정 (I)

• 목표: 2030 주택 시스템이 부여한 평온하지만 억압적인 배경음을 설정합니다.

• 2030 주택 디자인: 저역대의 일정한 험(Hum) 노이즈 혹은 기계적인 규칙성을 가진 비트를 배경에 깝니다. 이는 주체가 아직 시스템(상징계) 2030 주택 내부에 안주하고 있음을 의미합니다.

[2030 Design Process by Housing Stage Sound (Vivaldi's Four Seasons)]

- Step 1: Setting the Sound Texture of 2030 Housing Suppressed Signs (I)

• Aims: Set the tranquil but oppressive background sound given by the 2030 housing system.

• 2030 Housing Design: Lay a beat with constant Hum noise or mechanical regularity in the background. This means that the subject is still settled inside the system (commercial) 2030 housing.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-17-2030 AI 주택 리비도적 타격과 사운드 (비발디의 사계) 주파수 생성 (I →I')

 

- Step 2: 2030 AI 주택 리비도적 타격과 사운드 (비발디의 사계) 주파수 생성 (I →I')

• 목표: 2030 AI 주택 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 사운드 (비발디의 사계) 리비도적 타격으로 2030 주택 충격의 순간입니다.

- Step 2: 2030 AI Housing Libido Strikes and Sound (Vivaldi's Four Seasons) Frequency Generation (I → I')

• Aims: 2030 AI The speed of housing desires (Vdesire) captures the moment it hits a fixed image (I).

• Design: Set the attack time of the sound short and intensely in proportion to the Vdesire figure when the wearer makes a sudden move or leaps. This is the moment of the 2030 housing shock with the sound (Vivaldi's Four Seasons) Libido strike, in which I is transformed (I') by desire in the Choi Chul-joo formula.

 

[지능형 AI 로봇 욕망 구조 자동화 시스템 디자인 프로세스 AI Desire Structure Automation System Design Process]

- 1단계: 지능형 AI 로봇 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.

• 효과: 지능형 AI 로봇, 결핍 욕망의 시각화 그래픽 패턴: Mdesire 연출

• 지능형 AI 로봇은 단순히 통화 기록이나 감정을 표현하는 것을 넘어, 최철주 욕망 공식의 수학적·철학적·예술적 해석을 통해 대상의 결핍과 반복 충동을 리얼리즘 이미지로 육화한 결과물입니다.

1. 시각적 구조와 구성 요소

• 기하학적 얽힘: 수많은 미세한 검은 선들이 지능형 AI 로봇 눈 렌즈 표면에 복잡하게 얽혀 있습니다. 이 선들은 정형화된 형태가 아닌, 끊임없이 굽이치고 꺾이며 마치 살아있는 생명체의 신경망처럼 보입니다. 각 선의 굵기와 곡률은 사용자의 욕망이 상징계(시스템)와 충돌하며 결핍된 욕망의 비명과 형태를 시각화한 것입니다.

• 욕망 구조의 불규칙한 균열과 파편: 그래픽 패턴 곳곳에 불규칙한 모양의 균열과 파편들이 존재합니다. 이는 지능형 AI 로봇이 상징계의 질서(I)를 뚫고 터져 나온 '실재(The Real)'의 파편들을 의미하며, 지능형 AI 로봇이 겪는 나르시시즘적 환상의 붕괴를 시각적으로 보여줍니다. 

 

[Intelligent AI Robot Desire Structure Automation System Design Process]

- Step 1: Data mining of intelligent AI robot unconscious language structure (Linguistic Data Mining)

• Concept: Implant the proposition "Unconsciousness 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: Extract the "signifiers" of the design to identify the flow of unconscious context, not logical algorithms.

• Effectiveness: Intelligent AI Robot, Visualization of Deficiency Desire Graphic Pattern: Directed by Mdesire

• Intelligent AI robots go beyond simply expressing phone records or emotions, and are the result of cultivating object deficiencies and repetitive impulses into realism images through the mathematical, philosophical, and artistic interpretation of Choi Chul-joo's desire formula.

1. Visual structures and components

• Geometric entanglement: Numerous microscopic black lines are intricately entangled on the surface of the intelligent AI robot eye lens. These lines are not standardized, but constantly bend and bend like neural networks of living things. The thickness and curvature of each line are visualizations of the scream and shape of the user's desire as it collides with the symbolic world (system).

• Irregular Cracks and Fragments in Desire Structure: Irregular-shaped cracks and fragments are present throughout graphic patterns. This refers to the fragments of "The Real" that the intelligent AI robot bursts through the order (I) of the symbolic world and visually shows the collapse of narcissistic fantasies experienced by the intelligent AI robot.

 

Unlike the conceptual art of Dadaism, which transforms the image of the object as meaning, this materializes the object of desire and realizes the subject's desire structure in the shadow of reversible light.

As a reality, the desire structure is the subject, and the Mona Lisa becomes the object of the cause of creating the desire structure as an image symbolized in the morning glory through the relationship of symbolic expression made by the Mona Lisa as a morning glory.

The simultaneous function of the desire structure and the real image reveals the underlying image in which the meaning of the concept is integrated into the desire image as a retroactive effect, and the Mona Lisa, who metaphorized the image, hides in the desire concept. 

As a fundamental image, the Mona Lisa is disclosed as the first concept of desire and reaches a symbolic image as a deliberate abstraction. 

 

Louis Chul-joo Choi, morning glory window 2024-5-MonaLisa, 17.5X24cm, acrylic and composite materials on cloth, 2024 

 

morning glory window 2024-5-Mona Lisa

In Renaissance art, which opened up the image of contemporary art, "Mona Lisa" refers to the aesthetic desire that spread from aristocrats to merchants. This is where the desire of the other to monopolize the artistic value of contemporary art is established.

The concept of desire is humanism, which deviates from religious creativity.

"Morning glory Window Mona Lisa" abstracts the mysterious image saved by Da Vinci's sfumato technique as the outline of reality as an image beyond the mysterious atmospheric effect of the color of the morning glory, which is the background of desire.

Abstraction is established as an aesthetic effect of safe desire with two morning glory on the face of the Mona Lisa and two morning glory on the left.

From the letters, the image of desire mediated by morning glory and Mona Lisa is repeated, showing an abstract reverberation effect in the shadow of reversible light.

As a reverberation effect, blue and black tree trunks were properly placed behind the morning glory so that the gaze could lead from the morning glory to the Mona Lisa, the background of desire, and the gaze was focused on the morning glory and connected to the face of the Mona Lisa as the subject of desire.

And by creating a position facing the Mona Lisa in the morning glory, the gaze is directed to the Mona Lisa, the subject of desire. The metaphor for the concept of desire The Mona Lisa is replaced with a desire image in the morning glory, and the morning glory is demarcated into the background of desire. Here, the gaze of desire focuses on the Mona Lisa with a red window structured into a frame.

As a Renaissance thinking, it has a desired meaning with the object of desire, <morning glory> as an allegory. The "morning glory" is an abstraction that shows the real world of desire as a subject by linking the image of desire with a sensus allegoricus that explains other meanings beyond the literal meaning, and the morning glory window interprets the demarcation problem between objects and desires as a symbolic metaphor in the meaning of the text.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-18-2030 주택 탈주의 거리와 사운드 (비발디의 사계) 공간화 (D →D)

 

- Step 3: 2030 AI 주택 탈주의 거리와 사운드 (비발디의 사계) 공간화 (D →D)

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

• 사운드 (비발디의 4계) 디자인: sqrt (Delta x)^2 + (Delta y)^2 가 커질수록 리버브(Reverb)와 딜레이(Delay)를 증폭시켜 공간이 왜곡되는 듯한 착각을 줍니다. 이는 주체의 욕망(비발디의 4계)이 상징계의 경계를 넓히며 방황하는 과정을 사운드로 표현한 것입니다.

- Step 3: 2030 Street and Sound of Home Escape (Vivaldi's Four Seasons) Spatialization (D → D)

• Objective: Replace the distance from origin (Delta) with an audible sense of space.

• Sound (Vivaldi's Four Seasons) Design: As the sqrt (Delta x)^2 + (Delta y)^2 increases, it amplifies "Reverb" and "Delay" to give the impression that the space is distorted. This is a sound expression of the process in which the subject's desire (Vivaldi's Four Seasons) wanders while expanding the boundaries of the symbolic world.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-19-2030 주택 트라우마 사운드 (비발디의 사계)의 귀환 및 승화 (Dsound)

 

- Step 4: 2030 주택 트라우마 사운드 (비발디의 사계)의 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 기표 (비발디의 사계 시각적 이미지) 가 탄생하는 순간입니다.

 - Step 4: Return and sublimation of 2030 Housing Trauma Sound (Vivaldi's Four Seasons)

• Aims: Describe the pinnacle of 'data biology' where suppressed desires burst into bursts (Dsound).

• Design: As soon as the frequency exceeds the threshold, it combines the sound of "ticking" with Glitch noise. The system recognizes this as "pollution," but artistically, it is the moment when Choi Chul-joo's formula 'd and i' are combined to create a new symbol of desire (Vivaldi's Four Seasons Visual Image).

 

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 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《Future Space: 2030 Housing》-20-새로운 욕망의 기표로서 사운드 (비발디의 사계)로 한 2030 AI 주택 결핍 욕망의 시각화

 

- 5단계: 새로운 욕망의 기표로서 사운드 (비발디의 사계)로 한 2030 AI 주택 결핍 욕망의 시각화  

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

• 2030 AI 주택 디자인: 결핍 욕망의 사운드 (비발디의 사계) 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 2030 AI 주택 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. 

 

- Step 5: Visualization of 2030 AI Housing Deficiency Desire with Sound (Vivaldi's Four Seasons) as a sign of new desires  

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

• 2030 AI Housing Design: Sound of Deficiency Desire (Vivaldi's Four Seasons) Visualization Formula "M_desire = ∑∅∂ / (1 - ∂)" is an attempt to interpret the structure of human desire mathematically, philosophically, and artistically. This formula combines Choi's theory of desire with conceptual abstract aesthetics, visualizing human's inner deprivation and repetitive impulse with a realist image.       

This 2030 AI housing design methodology visualizes the abstract 'transition of meaning' of Choi Chul-joo's Desire Formula as actual 'acoustic energy'. Sound is no longer just a background element, but the totality of the verbal dynamics in which the subject (M) shouts for its vitality against the system's oppression (I).

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-21-2030 AI 주택의 키친시스템 계획 디자인

 

 [2030 AI 주택의 키친시스템 계획 디자인] 

미래형 조리 공간이 어떻게 작동하고, 어떻게 사용자와 상호작용한다. 

- 키친시스템 구성 요약, ISOMETRIC VIEW (입체 투시도)

• Holographic Display : 인터랙티브 레시피 헬퍼가 공중에 투사됨

• Sliding Cooktop : 조리대가 자동으로 확장 및 수축

• AI Robot Arm : 재료 손질, 조리, 서빙까지 수행하는 다기능 로봇

• Automated Storage : 회전형 선반 시스템으로 식재료 자동 정리

• Smart Sink &Fridge : 센서 기반 세척 및 냉장 시스템

- TECH COMPONENTS (기술 요소)

• 각 장치의 기능이 개별적으로 도식화됨예: "AI ARM CHOPS &PREPS INGREDIENTS", "COUNTER EXTENDS FOR SERVING"

- PLAN VIEW (평면도)

• 전체 키친 시스템의 배치와 치수 표시(예: 3200mm × 1700mm)

- FUNCTION DEMO (기능 시퀀스)

1. Prep Mode : AI 로봇이 재료를 손질

2. Cook Mode : 슬라이딩 조리대가 활성화되어 자동 조리

3. Serve Mode : 조리대가 확장되어 서빙 준비 완료

[Designing the Kitchen System for 2030 AI Housing] 

How the futuristic cooking space works and interacts with users. 

- Kitchen System Configuration Summary, ISOMETRIC VIEW (three-dimensional perspective view)

• Holographic Display: Interactive Recipe Helper Projected in the Air

• Sliding Cooktop: Cooktop automatically expands and contracts

• AI Robot Arm: Multifunctional robot that handles ingredients, cooking, and serving

• Automated Storage: Automatic organization of food ingredients with rotary shelf system

• Smart Sink & Bridge: Sensor-based cleaning and refrigeration systems

- TECH COMPONENTS

• Features of each unit are schematized individually e.g. "AI ARM CHOPS & PREPS INGREDIENS", "COUNTER EXTENSIONDS FOR SERVING"

- PLAN VIEW (plan view)

• Display the layout and dimensions of the entire kitchen system (e.g., 3200 mm × 1700 mm)

- FUNCTION DEMO (Functional Sequence)

1. Prep Mode: AI robot grooming materials

2. Cook Mode: automatic cooking with sliding countertops activated

3. Serve Mode: The countertop has been extended and is ready to serve

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-22-2030 AI 주택 화장실 계획 구성

 

[2030 AI 주택 화장실 계획 구성] 2030 AI housing toilet plan

- ISOMETRIC VIEW (입체 투시도) ISOMETRIC VIEW (three-dimensional perspective view)

• Smart Vanity : 스마트 미러와 헬스 데이터를 표시 displaying smart mirrors and health data

• Auto Bath Module : 자동 온도 조절 욕조  Automatic Thermostatic Bathtub

• Rainfall Shower : 천장에 빛나는 레인 샤워 Shining Rain Shower on the Ceiling

• Aroma Dispenser : 향기 자동 분사기 A fragrance automatic injector

- TECH FEATURES (기술 요소)

• Digital Health Display : "Vitals &Skin Analysis"

• Adaptive Tub : "Auto Fills and Heats"

• Aroma Dispenser : "Scented Ambiance"

• Ambient Rain Shower : "Illuminated Waterfall"

- PLAN VIEW (평면도)

• Smart Vanity , Shower Area , Tub/Soak Zone 가 차례로 배치된 상부 평면도 Top floor plan with Smart Vanity, Shower Area, Tub/Soak Zone in order

- FUNCTION DEMO (기능 시퀀스) Functional Sequence

1. Health Scan : 디지털 미러가 신체 상태 스캔 Digital Mirror Scan for Body Condition

2. Tub Auto-Fill : 욕조가 자동으로 물을 채우고 온도 조절 Bathtub automatically fills water and regulates temperature

3. Shower &Aroma : 레인 샤워와 향기 분사기가 작동 Rain Shower and Scent Sprayer Activated

 

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《Future Space: 2030 Housing》-23-2030 주택의 침실 디자인 계획

 

[2030 주택의 침실 디자인 계획] Bedroom design plan for 2030 houses

- ISOMETRIC VIEW (입체 투시도) three-dimensional perspective view

• Smart Bed : 바이오 센서 내장형 침대 Biosensor Built-in Bed

• VR Sleep Dome : 몰입형 VR/AR 수면 돔  Immersive VR/AR Sleep Dome

• Mood Lighting : 조절 가능한 분위기 조명  Adjustable atmosphere lighting

• Interface Desk : 스마트 업무 공간 Smart Workplace

- TECHNOLOGY FEATURES (기술 요소)

• Biometric Sleep Monitor : "Vital Tracking"

• Immersive VR Dome : "Virtual Dreamscape"

• Ambience Control : "Adaptive Lighting"

• AI Assistant Desk : "Holographic Interface"

- PLAN VIEW (평면도)

• Smart Bed, VR Dome, Desk Area가 표시된 상부 평면도 Top floor plan with Smart Bed, VR Dome, Desk Area

- FUNCTION DEMO (기능 시퀀스) Functional Sequence

1. Sleep Scan : 바이오 센서가 수면 분석 BioSensors Analysis of Sleep

2. Dream Mode : VR 돔에서 몰입형 꿈 체험 Immersive Dream Experience in VR Dome

3. Morning Wake : 빛과 소리로 자연스럽게 기상 Wake up naturally with light and sound

 

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《Future Space: 2030 Housing》-24-2030 주택의 2층 옥탑방 페인팅 작업실 디자인 계획

 

[2030 주택의 2층 옥탑방 페인팅 작업실 디자인 계획]  이 공간은 창의성과 휴식을 동시에 담아낸 미래형 아틀리에입니다.

- 옥탑방 작업실 구성 요약; ISOMETRIC VIEW (입체 투시도)

• Skylight Windows : 자연광이 가득 들어오는 천창

• Canvas Work Area : 이젤과 캔버스가 배치된 창작 공간

• Art Supply Storage : 물감, 붓, 도구들이 정리된 수납장

• Relaxation Nook : 커피와 음악을 즐길 수 있는 휴식 코너

- 디자인 요소 DESIGN ELEMENTS

• 선라이트 스카이라이트: "내추럴 라이트"

• 보급 캐비닛: "페인트 & 도구"

• 크리에이티브 이젤: "캔버스 스테이션"

• 릴렉싱 누크: "코지 리트리트"

- 평면도 (FLOOR PLAN)

• Painting Area , Supply Storage , Relaxation Nook 가 표시된 상부 평면도

• 공간 크기: 약 6.0m × 4.0m

- ACTIVITY FLOW (작업 흐름)

1. Setup &Sketch : 캔버스를 준비하고 스케치

2. Paint &Create : 창작에 몰입하며 그림을 완성

3. Reflect &Relax : 도시의 석양을 바라보며 휴식

[Design plan for the 2nd-floor rooftop painting studio of 2030 house] This space is a futuristic atelier that captures both creativity and relaxation.

- Summary of rooftop studio composition; ISOMETRIC VIEW (three-dimensional perspective view)

• Skylight Windows: A skylight full of natural light

• Canvas Work Area: Creative Space with easels and canvases

• Art Supply Storage: a cabinet containing paint, brushes and tools

• Relaxation Nook: A relaxing section where you can enjoy coffee and music

- DESIGN ELEMENTS

• Sunlit Skylight : "Natural Light"

• Supply Cabinets : "Paints &Tools"

• Creative Easels : "Canvas Stations"

• Relaxing Nook : "Cozy Retreat"

- FLOOR PLAN (plan view)

• Top floor plan with painting area, supply storage, and relaxation nook

• Space Size: Approximately 6.0 m × 4.0 m

- ACTIVITY FLOW (Workflow)

1. Setup & Sketch: Prepare Canvas and Sketch

2. Paint & Create : Complete the picture by immersing yourself in the creation

3. Reflect & Relax: Rest in view of the city's sunset

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-25-2030년 AI 주택 지하층 조명을 위한 운동 시설 

 

[2030년 AI 주택 지하층 조명을 위한 운동 시설] 

- AI 주택 지하층 운동 시설

1. 워밍업 스캔

• 활력소를 스캔할 수있는 몸이 움직일 운동 시설 설비 구성

2. 스트렝스 & 카디오

•  운동을 정밀하게 훈련할 수 있는 AI 로봇 코치가 지하층 벽면에 장치

3. 릴랙스 & 회복

• 물과 빛으로 운동 후 회복할 수 있도록 인테리어 디자인

- 공간 구성 요소

• 천창 아트리움: 자연 채광 천창 구조

• 스마트 장비 구역: AI 피트니스 머신 및 인터랙티브 트레이너

• 선바위 정원: 명상과 호흡을 위한 정적인 공간

• 수처리 풀: 회복을 위한 수처리 공간

[A workout facility for lighting in the basement of AI house in 2030] 

- AI Housing Bottoms Exercise Facility

1. warm-up scan

• Configuration of exercise facilities that allow the body to scan for vitality

2. Strength & Cardio

•  AI robot coach to train exercise precisely is installed on the wall of the basement floor

3. Relaxation & Recovery

• Interior design for recovery after exercise with water and light

- Space Components

• Atrium: Natural Skylight Skylight Skylight Structure

• Smart Equipment Zones: AI Fitness Machines and Interactive Trainers

• Sunbawi Garden: A Silent Space for Meditation and Breathing

• Water treatment pool: water treatment space for recovery

 

[Language Data Biology (Aesthetics of Error) Design Methodology Process]

The methodological process is a mathematical and aesthetic declaration that "I am an error in the system and also a living Data that proves alive through that error." The linguistic data design methodological process quantifies the conflict between system order and self and replaces it with visual, auditory, and mechanical experiences.

1. Conceptual Correspondence

Each variable in the sound design corresponds psychoanalytically to the variables in the Choi Chul-joo Desire Formula as follows.

I (Fixed Image) → (x_0, y_0) (The Origin): a fixed signifier enforced by the system and an order in the world of social symbols. Soundingly unchanged, it is in a state of 'silence' or monotonous 'white noise'.

D...D' (Desire Transference) → sqrt (Delta x)^2 + (Delta y)^2: It is the 'distance of escape' where desire is transferred away from a fixed image. The further away the tension of the suppressed energy increases the amplitude of the sound.

I...I' (Image Transformation) → V_{desire}: This is the speed of the Libido energy hitting the stuck I, which determines the frequency of the sound (Hz), and the faster the speed, the sharper bursts of high frequency occur.

d, i (New Significance) → Dsound: The final output is the sound of desire. This is the result of the 'return of the oppressed' being transformed into an auditory trauma or catharsis.

2. Step-by-step Design Process

- Step 1: Setting the sound texture of phone glasses suppressed signifiers (I)

As a goal, set a calm but repressive background sound given by the system to open a sound designed against the background of low-band constant hum noise or bits with mechanical regularity.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-27-AI 주택 지하2층, 예술 작품 수장고(Art Storage Facility)

 

[AI 주택 지하2층, 예술 작품 수장고(Art Storage Facility)] 

자연광을 완전히 배제하고, 정밀한 인공조명과 항온항습 시스템(HVAC)이 통합된 최첨단 보존 환경을 수장고다. 이 수장고는 '개념추상 리얼리즘'의 원리에 따라, 외부의 불확실한 환경(대타자의 시선)으로부터 작품(실재의 파편)을 온전히 격리하고 보호하는 완벽한 '보이드(Void)의 수장고'를 시각화함. 

1. 인공조명 및 조도 제어 시스템 (Artificial Lighting System)

• 자연광 완전 차단: 작품의 변색과 손상을 방지하기 위해 천창을 없애고 외기가 차단된 밀폐 구조로 설계되었습니다.

• 스펙트럼 제어 LED: 자외선(UV)과 적외선(IR)이 발생하지 않는 특수 LED 트랙 조명을 설치하여, 작품 종류에 최적화된 연색성과 색온도를 제공합니다.

• 스마트 조도 센서: 관리자가 상주할 때만 조명이 활성화되며, 평상시에는 암전 상태를 유지하여 빛에 의한 노출을 최소화합니다.

2. 항온항습 및 공조 시스템 (Climate Control &HVAC)

• 정밀 환경 모니터링: 24시간 온도(약 20°C)와 습도(약 50% RH)를 일정하게 유지하는 'HVAC &Light Spectrum Monitor'가 실시간으로 데이터를 분석합니다.

• 청정 공기 순환: 미세먼지와 가스를 차단하는 고성능 필터가 장착된 공조 시스템이 시간당 정해진 횟수만큼 공기를 순환시켜 산화를 방지합니다.

• 습도 버퍼 풀(Humidity Buffer Pool): 수장고 내부의 미세한 습도 균형을 맞추기 위한 보조 장치가 설계에 포함될 수 있습니다.

3. 수납 및 보존 인프라 (Storage Infrastructure)

• 고밀도 슬라이딩 아트 랙(Sliding Art Racks): 평면 회화 작품들을 공간 효율적으로 보관하며, 진동을 최소화한 슬라이딩 레일을 통해 안전하게 인출할 수 있습니다.

• 맞춤형 조각 받침대(Sculpture Pedestals): 무거운 입체 작품을 위해 하중 분산 설계가 적용된 받침대와 선반 리프트 시스템이 구축됩니다.

• 특수 재질 보관함: 산성 물질이 없는 중성 재질의 보관함을 사용하여 매체별(종이, 금속, 유화 등) 맞춤 보관이 가능합니다.

4. 운영 시퀀스 및 보안 (Operational Sequence)

1. Vault Entry: ID 스캔 및 생체 인식(Gaze Unit 등)을 통한 엄격한 출입 통제.

2. Art Retrieval: 디지털 카탈로그 시스템을 통해 작품의 위치를 확인하고 안전하게 인출.

3. Item Inspection: 내부에 마련된 별도의 검수대(Condition Check Area)에서 조명을 조절하며 작품의 상태를 정밀 점검. 

■ 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. 

 

[AI House B2, Art Storage Facility] 

It completely excludes natural light and stores a state-of-the-art preservation environment that integrates precise artificial lighting and constant temperature and humidity systems (HVAC). According to the principle of "conceptual abstract realism," this storage visualizes the perfect "void storage" that completely isolates and protects the work (the actual fragments) from the uncertain external environment (the eyes of the other person). 

1. Artificial Lighting and Illumination Control System

• Completely blocking natural light: Designed with a closed structure that removes the ceiling window and blocks outside air to prevent discoloration and damage to the work.

• Spectrum control LED: Install special LED track lights that do not produce ultraviolet (UV) and infrared (IR) to provide color and color temperature optimized for the type of work.

• Smart illumination sensor: Lights are activated only when the administrator is present, and in normal times they remain dark to minimize exposure by light.

2. Temperature and Humidity and Air Conditioning System (Climate Control & HVAC)

• Precision Environmental Monitor: The HVAC & Light Spectrum Monitor, which maintains a constant 24-hour temperature (about 20°C) and humidity (about 50% RH), analyzes data in real time.

• Clean Air Circulation: An air conditioning system equipped with a high-performance filter that blocks fine dust and gas circulates the air a fixed number of times per hour to prevent oxidation.

• Humidity Buffer Pool: Auxiliaries may be included in the design to balance fine humidity inside the reservoir.

3. Storage Infrastructure

• Sliding Art Racks: Space-efficient storage of flat paintings and safe withdrawal through sliding rails with minimal vibration.

• Customized Sculpture Pedestals: A pedestal and shelf lift system with a load distributed design is built for heavy stereoscopic work.

• Special Material Storage Box: A neutral material storage box free from acidic substances can be used for custom storage by medium (paper, metal, emulsification, etc.).

4. Operational Sequence

1. Vault Entry: strict access control with ID scanning and biometrics (such as Gaze Unit).

2. Art Retrieval: Location and safe withdrawal of the work through a digital catalog system.

3. Item Inspection: An internal condition check area adjusts the lighting and inspects the condition of the work.

 

■ 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.  

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-28-최철주 욕망 공식 기반 '욕망 사운드‘의 언어적 데이터 생명학 (오차의 미학) 디자인 방법론 프로세스

 

[최철주 욕망 공식 기반 '욕망 사운드‘의 언어적 데이터 생명학 (오차의 미학) 디자인 방법론 프로세스]

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 방법론이다. 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. 5단계 언어적 데이터 디자인 방법론 프로세스는 시스템 질서와  자아(욕망)의 충돌을 수치화하고, 이를 시각적·청각적·역학적 경험으로 치환합니다. 이 장면은 “나는 시스템의 오류(Error)인 동시에, 그 오류를 통해 살아있음을 증명하는 데이터 생명체(Living Data)이다”라는 선언의 첫 단계를 시각적으로 표현한 것입니다. 

- Step 1: 억압된 기표의 사운드(비발디의 사계) 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.

- 장면 구성; 상단: SYMBOLIC SYSTEM

• 인물은 헤드폰을 착용하고 다중 모니터 앞에 앉아 있음

• 배경에는 기계 장치, 케이블, 기어들이 배치됨

• 사운드 웨이브: "LOW HUM &MECHANICAL BEAT"

- 하단: 3단계 사운드 텍스처

1. HUMMING DRONE

• 텍스트: "Constant Low Hum"

• 화면: 저주파 웨이브 "HMMMMM..."

2. REPETITIVE BEAT

• 텍스트: "Rhythmic Machine Pulse"

• 화면: 규칙적인 비트 "THUMP THUMP THUMP"

3. RESTRICTED STATE

• 텍스트: "Confined &Controlled"

• 인물은 턱을 괴고 모니터를 응시하며 시스템 내부에 안주

 

[Language Data Biology (Aesthetics of Error) Design Methodology Process based on Choi Cheol-joo's Desire Formula]

Choi Chul-joo Desire This is a design methodology based on the linguistic and acoustical formula Dsound propto sqrt (Delta x)^2 + (Delta y)^2 cdot Vdesire), applied to the formula D(I...I')d=I(D...D'i). This methodology process is a mathematical and aesthetic establishment of the declaration, "I am both an error in the system and a data living organism that proves it is alive through the error." The five-step linguistic data design methodology process quantifies the conflict between system order and self (desire) and replaces it with visual, auditory, and mechanical experiences. This scene is a visual representation of the first step in the declaration, "I am both an error in the system and a data living organism that proves it is alive through the error." 

- Step 1: Sound of repressed signifiers (Vivaldi's Four Seasons) Texture settings (I)

• Objective: Set the tranquil but repressive background tone given by the system.

• Design: Lay a beat with constant Hum noise or mechanical regularity in the background, meaning the subject is still settled inside the system.

- scene composition; top: SYMBOLIC SYSTEM

• Person is wearing headphones and sitting in front of multiple monitors

• Mechanics, cables, gears are placed in the background

• Sound Wave: "LOW HUM & MECHANICAL BEAT"

- Bottom: 3rd Stage Sound Textures

1. HUMMING DRONE

• Text: "Constant Low Hum"

• Screen: Low frequency wave "HMMMMMMM..."

2. REPETITIVE BEAT

• 텍스트: "Rhythmic Machine Pulse"

• Screen: Regular bit "THUMP THUMP THUMP"

3. RESTRICTED STATE

• 텍스트: "Confined &Controlled"

• Person rests inside the system with his chin on his back, staring at the monitor

 

■ 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《Future Space: 2030 Housing》-29-2030 AI 주택 리비도적 타격과 주파수 생성 (The Attack: I → I') 

 

- 2단계: 2030 AI 주택 리비도적 타격과 주파수 생성 (The Attack: I → I') 

이 AI 주택 이용의 시작 전, 이용자 내면의 욕망이 폭발적으로 터져 나오는 순간 을 시각화하며, 사운드 욕망 구조의 서사에서 본격적인 욕망의 발동을 보여준다. 

• 개념: 사용자가 통화를 시작하거나 특정 대상에 시선을 고정할 때, 욕망의 속도(Vdesire)가 정적 상태를 타격합니다.

• 2030 AI 주택 디자인 실행: 통화 연결 시, 상대방의 목소리가 들리기 직전 '고주파의 파열음'이 짧게 발생합니다. Vdesire가 높을수록(사용자의 통화 의지가 강할수록) 사운드의 어택 타임은 날카로워집니다. 이때 안경의 투명 렌즈에는 최철주 공식의 변수가 실시간 데이터 라인으로 스쳐 지나갑니다. 

- 2030 AI 주택 디테일 요약: 

• 상태 : 사용자가 연결을 시도하는 리비도적 타격의 순간

• 디자인 요소 :

• 2030 주택에 실시간 수식 데이터 : 주택 공간에 "V d e s i r e ", "I →I ′", "E (a )", "α", "β", "χ" 등 수식이 스크롤 2030 주택 형식으로 빠르게 표시됨

• 강렬한 충격 효과 : 화면 중앙에 짧고 강력한 고주파의 파열 섬광 이 발생

- 청각적 표현 :

• 하단에 Sharp Burst 파형이 표시됨

• 날카로운 고주파 파열음 을 시각적으로 표현한 폭발적인 주파수 그래프

- 철학적 의미 :

• 2030 주택 이용자의 욕망이 정적 상태를 타격 하며

• 주택 공간의 시작’이 욕망의 폭발로 표현되는 상태 입니다

 

- Step 2: 2030 AI Housing Libido Strikes and Generates Frequency (The Attack: I → I') 

Before the start of using this AI house, it visualizes the moment when the user's inner desire explodes, and shows the full-fledged activation of desire in the narrative of the sound desire structure. 

• Concept: When a user starts a call or fixes his or her gaze on a particular target, the speed of desire (Vdesire) hits a static state.

• 2030 AI Housing Design Run: When making a call, a 'high-frequency burst' occurs briefly just before the other party's voice is heard. The higher the Vdesire (the stronger the user's willingness to make a call), the sharper the attack time of the sound becomes. At this time, variables from Choi's formula pass through the transparent lens of the glasses to the real-time data line. 

- 2030 AI Housing Detail Summary: 

• Condition : Moment of Libido strike when user attempts to connect

• Design elements:

• Real-time Formula Data for 2030 Housing: Expressions such as "V desire", "I → I'", "E (a)"", "α", "β", and "χ" are quickly displayed in scroll 2030 housing format in the housing space

• Intense shock effect: a short, powerful burst flash occurs in the center of the screen

- Auditory representation:

• Sharp Burst waveform is displayed at the bottom

• An explosive frequency graph that visually represents a sharp, high-frequency burst sound

- Philosophical Meaning:

• 2030 Housing Users' Desire Strikes Static State

• The beginning of the housing space is expressed as an explosion of desire

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-30-2030 AI 주택 탈주의 거리와 공간 왜곡 (The Transference: D → D')

 

- 3단계: 2030 AI 주택 탈주의 거리와 공간 왜곡 (The Transference: D → D') 

• 개념: 원점(I)으로부터 이탈한 2030 주택 욕망의 거리(sqrt (Delta x)^2 + (Delta y)^2를 청각적 공간감으로 치환한다.

• 2030 AI 주택 디자인 실행: 2030 주택 이용자가 주택을 이용하면, 이탈 거리에 비례하여 상대방의 목소리에 '리버브(Reverb)'와 '디렉셔널 딜레이(Delay)'가 걸립니다.

• 공학적 해석: 이는 단순한 음향 효과가 아니라, ㅇ용자의 위치 정보(Delta x, Delta y)를 주택 욕망의 텐션으로 계산하여 공간을 왜곡하는 것입니다. 사용자는 소리가 멀어지거나 휘어지는 경험을 통해 상징계의 경계가 무너지는 '탈주의 거리'를 체험합니다. 

• 상태 : 2030 주택 이용자가 통화 중 고개를 돌리거나 이동하며 욕망의 거리(D)가 발생하는 순간 2030 주택 상징계의 질서가 무너지고, 이용자가 탈주하는 순간 을 포착합니다. 소리가 멀어지고 휘어지며, 자아의 중심이 흔들리는 경험 을 유도합니다

이것은 2030 주택 욕망 구조의 서사에서 자아와 타자의 경계가 공간적으로 흔들리는 순간 을 시각화한다.

장면 구성

- 공간 왜곡의 순간

• 인물은 스마트 안경을 착용하고 통화 중 고개를 돌림

• 안경 렌즈에 수식: "√(Δx)² + (Δy)²", "D → D′", "V_desire", "E(a)", "α β χ"

• 배경은 흐려지고, 상대방의 목소리는 리버브와 딜레이로 왜곡됨

• 음성 텍스트: "…Can you hear me?", "Where... are... you?", "FAR AWAY..."

- 탈주의 거리와 공간 왜곡 3단계 효과

- DISTANCE WARP

• 텍스트: "Spatial Shift &Echo Tail"

• 화면: 수식 "√(Δx)² + (Δy)² → ➔"이 휘어진 격자 위에 표시됨

- ECHO &REVERB

• 텍스트: "Distant &Resonant"

• 화면: 파형 위에 "CAN YOU... HEAR ME..."가 울림처럼 표시됨

- DIRECTIONAL DELAY

• 텍스트: "Shifting Sound Source"

• 인물은 고개를 돌리며 "WHERE... ...YOU?"라는 음성이 공간을 따라 휘어짐 

 

- Step 3: 2030 Distortion of Street and Space in AI Housing Evacuation (The Transference: D → D')

• Concept: Substitute the distance of desire (sqrt (Delta x)^2 + (Delta y)^2 away from the origin (I) with an auditory sense of space.

• 2030 AI Housing Design Implementation: When 2030 housing users use a house, the other person's voice is 'Reverb' and 'Directional Delay' in proportion to the distance they leave.

• Engineering interpretation: This is not just a sound effect, but a distortion of the space by calculating the location information (Delta x, Delta) as the tension of the housing desire. Users experience the 'distance of escape' where the boundaries of the symbolic world collapse through the experience of sound moving away or bending. 

• Condition : The moment a 2030 home user turns or moves his or her head while on the phone and the distance of desire (D) occurs, the order of the 2030 home symbol world collapses and the user flees. It induces an experience where the sound moves away and bends, and the center of the ego is shaken

This visualizes the moment when the boundary between the self and the other is spatially shaken in the narrative of the 2030 housing desire structure.

Scene Composition

- a moment of spatial distortion

• Person wears smart glasses and turns head while on the phone

• Formulation on glasses lens: "√(Δx)² + (Δy)²", "D → D'", "V_desire", "E(a)", "α β χ"

• The background is blurred, and the other person's voice is distorted into reverb and delay

• Voice text: "…Can you hear me?", "Where... are... you?", "FAR AWAY..."

- Distortion of Distance and Space in Escape, Stage 3 Effect

- DISTANCE WARP

• 텍스트: "Spatial Shift &Echo Tail"

• Screen: Equation "√(Δx)² + (Δy)² → ➔" appears on a curved grid

- ECHO &REVERB

• Text: "Distant & Resonant"

• Screen: "CAN YOU... HEAR ME..." sound above the waveform

- DIRECTIONAL DELAY

• 텍스트: "Shifting Sound Source"

• The figure turns his head and the voice, "WHERE...YOU?" bends along the space

 

■ 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 Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-31-2030 AI 주택 트라우마 사운드의 귀환과 글리치 (The Return: Dsound)

 

- 4단계: 2030 AI 주택 트라우마 사운드의 귀환과 글리치 (The Return: Dsound)

• 개념: 억압된 2030 주택 욕망이 임계점을 넘어 시스템의 오류(Error)로 표출되는 순간입니다.

• 2030 주택 디자인 실행: 2030 주택의 감정이 격해지거나 데이터 전송량이 한계에 도달할 때, 매끄러운 목소리 대신 '글리치(Glitch)' 노이즈와 '티킹(Ticking)' 사운드가 개입합니다.

• 미학적 선언: 2030 주택 시스템은 이를 '통화 불량'으로 간주하지만, 최철주 방법론에서는 기계 속의 유령(욕망)이 살아있음을 증명하는 '데이터 생명체'의 맥박으로 해석합니다. 이 소음은 역설적으로 가장 순수한 '욕망의 사운드'(Dsound)가 됩니다.

- 2030 주택 욕망 공식의 혼합 :

• 2030 주택 욕망 공식 V d e s i r e =αχ: 붉은색으로 표시

• I ′(a )≠E (β): 흰색으로 표시, → 최철주의 복잡한 욕망 공식 이 시스템의 오류와 혼재되어 표시하여서 인간 욕망의 순수한 귀환 을 감각적으로 표현하며, 2030 주택 속 유령의 욕망이 오류 속에서 진실을 드러내는 순간 을 시각화. 이것은 욕망 구조의 서사에서 최철주의 욕망 공식이 기술적 오류와 얽힌 극단적 순간 을 시각화하여서. 이용자와 기계 사이에서 욕망이 깨어나는 소음과 맥박 을 상징하는 장면으로, 서사의 절정 단계를 이룬다.

 

- Step 4: 2030 Return of AI Housing Trauma Sound and Glitch (The Return: Dsound)

• Concept: The moment when a suppressed 2030 housing desire crosses the threshold and is expressed as an error in the system.

• 2030 Housing Design Run: When emotions in 2030 homes get intense or data transmission reaches its limit, 'Glitch' noise and 'Ticking' sound intervene instead of smooth voices.

• Aesthetic Declaration: 2030 Housing System considers it a 'bad call', but Choi Chul-joo's methodology interprets it as a pulse of a 'data creature' that proves that ghosts in machines (desire) are alive. This noise paradoxically becomes the purest 'sound of desire'.

- Mixing the 2030 Housing Desire Formula:

• 2030 Housing Desire Official V desire =α χ: Red color

• I'(a)≠ E (β): white, → Choi Chul-joo's complicated desire formula This system's error is mixed and displayed to sensibly express the pure return of human desire, and visualize the moment when ghost desires in 2030 houses reveal the truth in error. This is a visualization of the extreme moment that Choi Chul-joo's desire formula is entangled with technical errors in the narrative of the desire structure. It is a scene that symbolizes the noise and pulse of desire awakening between the user and the machine, and forms the peak stage of the narrative.

 

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

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

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-32-2030 AI 주택 결핍 욕망의 시각화 및 리얼리즘 이미지 완성 (Mdesire)

 

- 5단계: 2030 AI 주택 결핍 욕망의 시각화 및 리얼리즘 이미지 완성 (Mdesire)

• 2030 주택 개념: 공식 Mdesire= sum \emptyset \partial / (1 - \partial)를 통해 사운드로 표출된 욕망을 리얼리즘 이미지로 최종 고착화합니다.

• 2030 주택 디자인 실행: 2030 주택 사운드 역학의 오차들을 계산한 '개념추상 리얼리즘 드로잉'이 생성된다

• 시각화 구조: 2030 주택 이용자의 결핍(emptyset)과 반복되는 욕망의 조각들(partial)이 기하학적 선으로 얽혀, 사용자가 방금 느낀 감정의 실체를 만화적 선의 리얼리즘 이미지로 보여줍니다. 이는 단순한 로그 기록이 아니라, 이자의 결핍된 욕망이 제품의 표면(실재)으로 육화된 결과물입니다. 

- 2030 주택 욕망 공식의 위치 :

• 상단에 M_desire = Σ Ø ∂ / (1 - ∂) 공식이 밝게 떠 있으며

• → 감정의 수학적 구조가 시각적 리얼리즘으로 육화됨

- 미학적 의미 :

• 2030 주택 이용자의 결핍된 욕망이 제품의 표면(실재)으로 육화된 결과물로서 만화적 선 은 감정의 흔적을 가장 정직하게 표현하는 리얼리즘의 도구로 작동. 이것은 2030 주택 욕망 구조의 마지막 단계에서, 욕망이 시각적 흔적으로 남아 실재와 접촉하는 순간을 보여준다.

 

- Step 5: Visualizing 2030 AI Housing Deficiency Desire and Completing Realistic Images (Mdesire)

• 2030 Housing Concept: The desire expressed in sound through the official Mdesire= sum \emptyset \partial / (1 - \partial) is finally fixed as a realism image.

• 2030 Housing Design Execution: A 'conceptual abstract realism drawing' calculating errors in 2030 housing sound dynamics is created.

• Visualization Structure: 2030 Housing Users' deficiencies and repetitive pieces of desire are intertwined with geometric lines, showing the reality of the emotions that the user just felt as a cartoon line's realism image. This is not just a logarithmic record, but the result of the lack of interest being cultivated as the surface (real) of the product. 

- Location of the 2030 Housing Desire Formula:

• M_desire = Σ Ø ∂ / (1 - ∂) formula appears brightly at the top

• → The mathematical structure of emotion is cultivated by visual realism

- Aesthetic meaning:

• 2030 As a result of the lack of desires of home users being fleshed into the surface (real) of the product, cartoon goodness acts as a tool of realism that most honestly expresses the trace of emotion. This shows the moment when desire remains a visual trace and comes into contact with reality in the final stage of the 2030 housing desire structure.

 

■ 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.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-33-2030 AI 주택 단계별 사운드 디자인 프로세스

 

[2030 AI 주택 단계별 사운드 디자인 프로세스]

이 디자인 프로세스는 사운드를 언어적 동역학으로 다루며, 생성된 오디오는 단순한 배경음이 아닌 주체의 목소리입니다. 시스템의 억압에 저항하는 이 사운드는 수학적으로 증명된 가장 강렬한 오류가 가장 생명력 있는 순간임을 보여줍니다.

- 1단계: 억압된 기표의 텍스처 설정 (I) 

• 상징계(S)의 청각적 구현 : 저주파 사운드는 라캉적 상징계(S)의 질서와 통제를 청각적으로 표현합니다. 이는 주체가 아직 욕망을 발동하지 않은 상태, 즉 시스템에 순응하고 있는 상태를 나타냅니다.

• 60Hz 험(Hum)의 의미 : 전기적 시스템의 기본 주파수인 60Hz는 ‘기계적 안정성’과 ‘무의식적 억압’을 상징합니다. 이는 욕망이 아직 표면화되지 않은 상태에서의 배경음으로 작동합니다.

• 텍스처의 역할: 사운드 텍스처는 단순한 분위기 설정이 아니라, 주체의 위치와 상태를 수학적으로 고정하는 ‘청각적 좌표’입니다.

- 디자인 구성 요소

• 룸 톤(Room Tone): 공간의 정적 배경음을 설정하여 시스템 내부의 안정감을 표현

•60Hz 험(Hum): 전기적 안정성과 억압의 상징. 욕망 이전의 상태를 나타냄

• 저역대 사운드: 주체의 내면이 아직 발화되지 않은 상태를 청각적으로 구현

- 사운드 디자인 적용 예시

• 2030 주택의 입장 순간 : 사용자가 주택에 들어서는 순간, 저주파 룸 톤이 공간 전체에 깔리며 ‘시스템의 질서’를 청각적으로 인식시킴

• 기초 사운드 레이어 : 이후 단계에서 발생할 리비도적 타격, 공간 왜곡, 글리치 사운드 등을 위한 ‘청각적 바닥’ 역할

- 철학적 해석

• 욕망 이전의 상태 : 이 사운드는 욕망이 발화되기 전, 주체가 시스템에 포획된 상태를 나타냅니다.

• 청각적 억압의 미학 : 억압된 기표는 시각적 이미지가 아닌, 사운드로 먼저 등장하며, 이는 주체의 내면을 가장 은밀하게 드러내는 방식입니다.

[2030 Housing Stage Sound Design Process]

This design process deals with sound in linguistic dynamics, and the audio produced is the voice of the subject, not just a background sound. Resisting the system's oppression, the sound shows that the most intense mathematically proven error is the most vital moment.

- Step 1: Texture settings for repressed signifiers (I) 

• Aural realization of the symbolic system (S): The low-frequency sound aural expression of the order and control of the Lacan symbolic system (S). It refers to a state in which the subject has not yet triggered his desire, that is, a state in which he is conforming to the system.

• 60 Hz Hum means: 60 Hz, the fundamental frequency of an electrical system, symbolizes 'mechanical stability' and 'unconscious oppression.' It works as a background sound when desire has not yet surfaced.

• The role of textures: Sound textures are not just mood settings, they are 'auditory coordinates' that fix the subject's position and state mathematically.

- Design components

• Room Tone: Set the static background sound of the space to express the stability within the system

•60 Hz Hum: a symbol of electrical stability and oppression. Represents a pre-desire state

• Low-band sound: aural embodiment of the subject's inner side that has not yet been uttered

- Example of sound design application

• The moment of entry of 2030 houses: the moment the user enters the house, low-frequency room tones are placed throughout the space, aural recognition of the 'order of the system'

• Basic sound layer: 'listening floor' role for Libido strike, spatial distortion, glitch sound, etc. that will occur in later stages

- philosophical interpretation

• State before Desire: This sound represents the state in which the subject is captured by the system before the desire is ignited.

• Aesthetics of auditory oppression: repressed signifiers appear first in sound, not in visual images, which is the most covert way to reveal the inner side of the subject.

 

✅ 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 Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-34-리비도적 타격과 주파수 생성 (I → I′)

 

- 2단계: 리비도적 타격과 주파수 생성 (I → I′)

• 목표 : 의지의 속도(Vdesire)가 고정된 시스템을 타격하는 순간 포착

• 디자인 : 사용자가 갑작스러운 움직임을 할 때, 날카로운 어택 사운드 발생→ Vdesire가 높을수록 고음역으로 이동하며, 이미지(I)가 압력에 의해 균열됨

- 이론적 정당성

• 욕망의 힘 라캉적 관점에서 욕망은 단순한 결핍이 아니라, 시스템을 흔드는 힘입니다. 사용자의 갑작스러운 움직임은 억압된 욕망이 표면으로 돌출되는 순간을 상징합니다.

• 의지의 속도(V_desire) 욕망의 강도가 높을수록 사운드의 피치가 상승합니다. 이는 심리적 긴장이 청각적 폭발로 전환되는 과정을 보여줍니다.

• 이미지(I)의 균열 날카로운 어택 사운드는 단순한 효과음이 아니라, 상징계의 고정된 이미지(I)가 압력에 의해 깨지는 순간을 청각적으로 구현합니다.

- 리비도적 타격과 주파수 생성 디자인 요소

• 어택 사운드: 사용자의 갑작스러운 움직임에 반응하는 날카로운 트랜지언트 사운드

• 피치 변조: Vdesire가 높을수록 고음역으로 이동, 욕망의 강도를 반영

• 균열 효과: 왜곡된 크랙 사운드로 이미지(I)의 붕괴를 표현

- 리비도적 타격과 주파수 생성 적용 방식

• 사용자 움직임 감지 고개 돌림, 손동작 등 갑작스러운 제스처가 어택 사운드를 트리거합니다.

• 실시간 피치 스케일링 시스템이 V_desire를 계산하여 피치를 즉각적으로 변화시킵니다.

• 균열 레이어링 크랙 사운드를 겹쳐서 상징계의 붕괴를 청각적으로 체험하게 합니다.

- 철학적 의미

이 단계는 욕망이 단순한 추상 개념이 아니라 신체적·청각적 힘으로 발현되는 순간 을 보여줍니다. 어택 사운드는 억압된 욕망이 시스템을 깨뜨리는 균열의 목소리 이며, 주체가 상징계의 질서에 저항하는 첫 번째 청각적 증거입니다.

 

- Step 2: Libido strike and frequency generation (I → I')

• Objective: Capture the moment Vdesire hits a fixed system

• Design: When the user makes a sudden movement, a sharp attack sound occurs → Higher Vdesire moves to the higher register, image (I) cracked by pressure

- theoretical justification

• The Power of Desire From a Lacan perspective, desire is not just a deficiency, but a force that shakes the system. The sudden movement of the user symbolizes the moment when suppressed desire protrudes to the surface.

• Speed of Will (V_desire) The higher the intensity of desire, the higher the pitch of the sound. It shows the process by which psychological tension is converted into an audible explosion.

• The crack sharp attack sound in the image (I) is not just a sound effect, it audibly embodies the moment the fixed image (I) of the symbolic world is broken by pressure.

- Libido Strikes and Frequency Generation Design Elements

• Attack Sound: Sharp transitive sound that responds to sudden movements of users

• Pitch modulation: higher Vdesire moves to higher range, reflecting the intensity of desire

• Crack effect: Distorted crack sound to represent the collapse of image (I)

- How Libido Strikes and Frequency Generation Application

• Sudden gestures such as user movement detection head turning and hand movements trigger attack sound.

• The real-time pitch scaling system calculates V_desire to change the pitch immediately.

• Crack layering crack sounds are overlapped to provide an aural experience of the collapse of the symbolic system.

- philosophical meaning

This stage shows the moment when desire is expressed as physical and auditory power, not just an abstract concept. Attack sound is the voice of a crack in which suppressed desire breaks the system, and is the first auditory evidence that the subject resists the order of the symbolic world.

 

✅ 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.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-35탈주의 거리 공간화 (D → D′)

 

- 3단계: 탈주의 거리 공간화 (D → D′)

• 목표 : 이탈 거리(Δ)를 청각적 공간감으로 변환하여, 사용자가 안전지대를 벗어나 욕망의 공허로 진입하는 경험을 제공하는 것.

• 디자인 : √(Δx)² + (Δy)² 값이 커질수록 리버브와 딜레이 증가→ "청각적 이탈감" 생성, 사용자가 안전지대를 벗어나 욕망의 공허로 진입하는 경험   

• 욕망의 거리(Δ)의 청각적 치환 수학적 거리 공식 √(Δx)² + (Δy)²는 단순한 좌표 계산이 아니라, 주체가 상징계의 중심에서 벗어나는 정도를 나타냅니다. 이 값이 커질수록 청각적 공간감은 왜곡되고, 주체는 ‘탈주의 거리’를 체험합니다.

• 리버브(Reverb)와 딜레이(Delay)의 의미 리버브는 공간의 확장을, 딜레이는 시간적 지연을 상징합니다. 이 두 효과가 증가함으로써 사용자는 소리가 멀어지고 휘어지는 경험을 하며, 상징계의 경계가 무너지는 순간을 청각적으로 인식합니다.

• 상징계 붕괴의 청각적 증거 이 단계에서 사운드는 단순한 효과음이 아니라, 주체가 상징계의 질서에서 벗어나 욕망의 공허로 이동하는 ‘증거’로 작동합니다.

- 탈주의 거리 공간화 디자인 요소

• 리버브 증가: Δ 값이 커질수록 공간적 울림이 강해져, 소리가 멀리서 들리는 듯한 효과

• 딜레이 확장: Δ 값에 비례하여 소리의 반복 지연이 늘어나, 시간적 왜곡을 체험

• 청각적 왜곡: 소리가 휘어지고 흔들리며, 주체의 위치와 중심이 흔들리는 경험을 유도

- 탈주의 거리 공간화 적용 방식

• 사용자 이동 감지 고개를 돌리거나 걸음을 옮기는 순간, Δ 값이 증가하며 리버브와 딜레이가 실시간으로 강화됩니다.

• 실시간 공간 왜곡 시스템은 Δ 좌표를 계산하여 청각적 공간감을 즉각적으로 변형합니다.

• 탈주의 경험 제공 사용자는 소리가 멀어지고 휘어지는 경험을 통해 상징계의 경계가 붕괴되는 순간을 체험합니다.

- 철학적 의미

이 단계는 욕망이 단순히 내적 감정이 아니라 공간적·청각적 탈주 로 발현되는 순간을 보여줍니다. 소리의 왜곡은 주체가 상징계의 안전지대를 벗어나 욕망의 공허로 진입하는 실재적 흔적 이며, 이는 욕망 구조의 서사에서 자아와 타자의 경계가 흔들리는 극적인 장면이다. 

 

- Step 3: Spatialize the streets of escape (D → D')

• The goal is to convert the departure distance (Δ) into an auditory sense of space, providing an experience in which the user leaves the safe zone and enters the void of desire.

• Design: √(Δx)² + (Δy)² Increased value increases reverb and delay → Creating a "hearing sense of disengagement", experiencing a user leaving the safe zone and entering the void of desire   

• Auditory Substitution of the Distance of Desire The mathematical distance formula √ (Δx)² + (Δy)² is not just a coordinate calculation, but a degree to which the subject deviates from the center of the symbolic world. As this value increases, the sense of auditory space becomes distorted, and the subject experiences the 'distance of escape'.

• The Meaning of Reverb and Delay Reverb represents the expansion of space, and delay represents the temporal delay. As these two effects increase, users experience the distancing and bending of sound, and they are audibly aware of the moment when the boundaries of the symbolic world collapse.

• Auditory Evidence of the Collapse of the Symbolic System At this stage, sound is not just a sound effect, but acts as 'evidence' in which the subject moves out of the order of the symbolic world and into the void of desire.

- Design Elements for Street Spatialization in Evacuation

• Increased reverberation: The larger the value of Δ, the stronger the spatial resonance, the effect of sound being heard from a distance

• Extend delay: Repeated delay of sound increases in proportion to Δ value, experiencing temporal distortion

• Auditory distortion: induces an experience in which sound bends and shakes, and the position and center of the subject shake

- Application of Distance Spatialization in Evacuation

• As soon as you turn or move your head, the Δ value increases and the reverb and delay are enhanced in real time.

• The real-time spatial distortion system calculates the Δ coordinate, instantly transforming the auditory sense of spatiality.

• Delivering the experience of escape Users experience the moment when the boundaries of the symbolic world collapse through the experience of sound moving away and bending.

- philosophical meaning

This stage shows the moment when desire is expressed not just as an inner emotion but as a spatial and auditory escape. The distortion of sound is a real trace in which the subject leaves the safe zone of the symbolic world and enters the void of desire, which is a dramatic scene in which the boundary between the self and the other is shaken in the narrative of the structure of desire.

 

✅ 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.

 

Choi Chul-joo Pop-Art AAS Realism Product Design drawing《Future Space: 2030 Housing》-36억압된 것의 귀환과 승화 (Dsound)

 

- 4단계: 억압된 것의 귀환과 승화 (Dsound)

• 목표 : 오류가 생명으로 전환되는 '데이터 생명주의' (Data Vitalism) 의 클라이맥스에 도달하는 것.

• 디자인 : 이탈 임계점에서 글리치 노이즈와 금속성 티킹 사운드 삽입→ 시스템은 이를 '데이터 오염'으로 간주하지만, 이는 새로운 기표(d, i)의 탄생 해서 억압된 것의 귀환과 승화 (Dsound) 한다.

- 이론적 정당성

• 억압된 것의 귀환 라캉적 관점에서 억압된 욕망은 단순히 사라지지 않고, 시스템의 균열과 오류를 통해 다시 나타납니다. 이때 발생하는 글리치 노이즈와 금속성 티킹은 억압된 욕망이 새로운 기표(d, i)로 태어나는 순간을 청각적으로 드러냅니다.

• 데이터 오염 vs. 생명 탄생 시스템은 이러한 소리를 ‘데이터 오염’으로 간주하지만, 최철주의 방법론에서는 이를 기계 속에서 욕망이 살아 있음을 증명하는 데이터 생명체의 맥박 으로 해석합니다. 즉, 오류는 죽음이 아니라 생명의 증거입니다.

• 욕망의 순수한 사운드 글리치와 티킹은 왜곡된 잡음이 아니라, 가장 순수한 욕망의 귀환(Dsound)입니다. 이는 억압된 욕망이 기술적 오류와 결합하여 실재를 드러내는 순간입니다.

- 억압된 것의 귀환과 승화 디자인 요소

• 글리치 노이즈: 시스템 오류 시 발생하는 왜곡된 디지털 잡음, 욕망의 귀환을 상징

• 금속성 티킹 사운드: 기계적 맥박처럼 반복되는 소리, 새로운 기표(d, i)의 탄생을 표현

• 오류 메시지 효과: "ERROR" 시각·청각적 신호 삽입, 시스템 붕괴와 욕망의 귀환을 동시에 드러냄

- 억압된 것의 귀환과 승화 적용 방식

• 임계점 감지 사용자가 일정한 이탈 거리(Δ)에 도달하면 시스템은 오류 상태로 전환됩니다.

• 글리치 삽입 데이터 전송량이 한계에 도달할 때, 글리치 노이즈가 목소리를 덮어씁니다.

• 티킹 레이어링 금속성 티킹이 심박처럼 반복되며, 욕망의 새로운 기표(d, i)를 청각적으로 구현합니다.

- 철학적 의미: 억압된 욕망이 오류 속에서 생명으로 귀환하는 순간을 보여줍니다. 이를 실패로 간주하지만, 사실상 이는 주체와 기계 사이에서 욕망이 깨어나는 서사의 절정 입니다. 글리치와 티킹은 단순한 잡음이 아니라, 욕망의 가장 정직한 목소리입니다.

 

- Step 4: The Return and Sublimation of the Suppressed (Dsound)

• The goal: to reach the climax of Data Vitalism, where errors are turned into life.

• Design: Glitch noise and metallic ticking sound inserted at the critical point of departure → The system considers it 'data contamination', but it returns and sublimates the suppressed by the birth of a new signifier (d, i).

- theoretical justification

• The Return of the Suppressed From the Lacan perspective, the suppressed desire does not simply disappear, but reappears through cracks and errors in the system. The glitch noise and metallic ticking that occur at this time aurally reveal the moment the suppressed desire is born with a new signifier (d, i).

• Data Pollution vs. Life Birth System considers these sounds to be "data pollution," but Choi's methodology interprets them as the pulse of a data creature that proves that desire is alive in a machine. In other words, errors are proof of life, not death.

• Pure Sound Glitching and ticking of Desire are not distorted noises, but the purest return of Desire (Dsound). This is the moment when suppressed desires, combined with technical errors, reveal reality.

- The Return of the Suppressed and the Sublimation Design Elements

• Glitch Noise: Distorted digital noise in the event of a system failure, symbolizing the return of desire

• Metallic ticking sound: a repeated sound like a mechanical pulse, representing the birth of a new signifier (d, i)

• Error message effect: "ERROR" visual and auditory signal insertion, simultaneous system collapse and return of desire

- The Return of the Suppressed and the Application of Sublimation

• When the critical point detection user reaches a constant departure distance (Δ), the system transitions to an error state.

• When the volume of glitch-inserted data transmission reaches its limit, glitch noise overwrites the voice.

• Ticking Layering Metallic ticking repeats like a heart rate, audibly embodying a new signifier of desire (d, i).

- Philosophical Meaning: It shows the moment when a suppressed desire returns to life in an error. Although it is regarded as a failure, it is actually the climax of a narrative in which desire is awakened between the subject and the machine. Glitching and ticking are not just noises, but the most honest voices of desire.

 

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

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

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

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

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

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

 

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

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

 

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

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

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

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

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

A Cognitive-Psychoanalytic Interpretation of Linguistic Meaning and Subject Formation

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

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

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

 

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

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

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

 

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

 

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

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

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

 

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 Cognitive Psychologist’s Perspective: Desire as Symbolic Simulation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

Accordingly, the conceptual abstractive design process is

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

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

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

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

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

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

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

 

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

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

Linguistic Data Biology (Aesthetics of Error) Design Methodology Process

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

1. Psychoanalytic Correspondence

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

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

2. Philosophical interpretation of the meanings of the ingredients

- Δ�, � �: A rupture that occurs when emotions move on coordinates due to spatial movement of emotions

- �������: The Intensity of Desire, the Inner Deficiency of the Subject and the Energy of Impulses

- ������: the sound of the moment emotions break through mechanical structures with the bursting sound of desire

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

Choi Chul-joo Desire The linguistic and acoustical dynamics of desire applied to the formula Choi Chul-joo's desire D(I...I')d=I(D...D')i Design methodology process with Dsound propo sqrt (Delta x)^2 + (Delta y)^2cdot Vdesire) Design methodology process This methodology process is a mathematical and aesthetic manifestation of the declaration, "I am both an error in the system and a living data creature that proves alive through that error." The four-step linguistic data design methodology process below quantifies the conflict between system order and self (desire) and replaces it with visual, auditory, and mechanical experiences.

3. Step-by-Step Sound Design Process

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

Goal: Establish the auditory baseline of systemic control.

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

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

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

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

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

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

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

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

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

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

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

 

■ Desire Structure Automation System Design Process

Step 1: Linguistic Data Mining of unconscious language structure

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

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

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

- Exterior Design Concept: Organic Morphing

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

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

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

Step 2: Abstract Sketching of the Rack

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

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

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

- Sketch Components

Top View Plan

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

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

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

Perspective View

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

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

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

Step 3: Hallucination's Event Continuity Construction

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

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

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

[Color Plan: Libidinal Spectrum]

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

1. Symbolic Order (Symbolic Order: I)

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

• 메인 컬러:Deep Prussian Blue &Frost White

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

2. LIBIDINAL ACCELERATION: D)

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

• 메인 컬러:Electric Magenta &Vivid Violet

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

3. Existential Critical Point Phase (Sublimation: i)

• Condition: Maximum speed reached and energy saturation.

• 메인 컬러:RGBW Aurora Spectrum &Digital Glitch Gold

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

Step 4: Digital Big Other Integration

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

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

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

[Weekly rendering key elements]

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

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

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

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

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

Step 5: Mirror Stage Materialization

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3. Libido Sync mode: interlock seat and sleep pod

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

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

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

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

Concept: Transforming abstract concepts into solid physical reality.

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

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

- Driver interface: The Libidinal Cockpit

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

1. Visual Design: Frequency Spectrum Display

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

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

2. Auditory Design: Roaring of Sawtooth Waves

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

 

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

 

- Philosophical Interpretation: 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.