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each other. For simplicity, in the following I will use the word network to denote
such a topological subspace, for lack of a more suitable word.
While exploring, the work that is being created exists in two forms simultane-
ously: in a material representation and a conceptual representation . The material
representation is the current form of the work in the chosen medium, e.g. as a sound
sketch or an unfinished image. It corresponds to a single point in the material space,
the space of all theoretically possible images. The conceptual representation is the
current form of the work in terms of ideas and generative principles. It corresponds
to a point in a conceptual space; the space of all possible conceptual representations.
A particular conceptual representation defines a subspace in the material space—the
set of all images or sounds, i.e. points, that could be interpreted as corresponding
to this concept. In parallel to the topological tool networks, there is also a topol-
ogy of subspaces in the material space, defined by the variability of the conceptual
representation. If the conceptual representation is changed or revised, this subspace
is transformed, and will cover new regions and allow new pathways in the mate-
rial space. This system of related subspaces corresponds to topological networks in
the conceptual space, but I will call them conceptual networks, for simplicity. An
illustration of these related spaces is given in Fig. 8.2 .
The focus of the creative process continuously changes between these two forms,
and requires mechanisms to translate from one into the other, in both ways. Let us
call them implementation , when we go from concept to material, and re-concept-
ualisation , when the concept is revised or recreated based on the current material
form. The discrepancies between the two representations, and the imprecision of
the translation in both directions fuels the creative exploration, embeds qualities of
human expression in the work, and imprints a trace of the creative process onto the
work itself.
The implementation of a concept into a material manifestation happens through
the application of tools, and this process is imprecise due to the natural vagueness
of ideas, the characteristic incompetence of the artist, the imperfection of the tools
themselves, and his possible lacking mastery thereof—visible as a limitation in his
predictive capacity.
In the other direction, the continuous re-conceptualisation of material form into
a new conceptual representation, which may or may not resemble the previous one,
is by its very nature imprecise and prone to misunderstandings. It is precisely this
vagueness that is the heart of the field of interpretative arts, such as musical per-
formance and theatre. But I think it is also crucial within the creative process of a
single author, since he continuously interprets and re-interprets his own work as it
is given form.
8.3.1 Material Space and Representation
The material representation is simply the current, temporary form of the work, e.g.
as a drawing, a musical sketch, or a sound file. The material space is a theoretical
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