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problem. The translation from concept to material is essentially irreversible, and to
form a cognitive model of a material is imprecise and gives a model different to
the original. This difference gives birth to new material and creative variations. It
is analogous to the concept of interpretation, as in classical music and theatre. We
cannot recreate the conceptual model of the original composer or playwright, and
each performance is different. During the creative process, the artist has to interpret
his own work repeatedly, to be able to evaluate the temporary form of the work,
and to take advantage of unpredicted results. The artist himself has the advantage
of having access to the previous conceptual representation, and he can form a new
model based on the current temporary material form of the work, and check if it
corresponds to his original idea. On the other hand, this is not so easy, since the
artist is so deeply engaged in the work that he cannot judge it like someone from
the outside. For this reason, artists use various tricks, e.g. to let a work rest for a
while, and start anew with fresh ears, or observing a painting upside down to fool
perception and prejudice.
The self-interpretation and subsequent evaluation can be done rarely, to let a
generative process finish. Or it can be done often, or even continuously, but this can
obstruct the creative flow. Postponed judgement is liberating, as described so well
by Nachmanovitch (
1990
) and many others.
In the process, we seek the intersections between the tool networks and the cur-
rent conceptual subspace. When I paint with a brush I seek intersections between the
network of the tool—the images that I am able to paint, and the conceptual subspace
formed by the ideas I want to convey. These intersections have a kind of gravity. We
are attracted to them, and this is where the final version of the work will be found—
in an intersection between the idea networks and the tool networks—something that
is realisable and contains a representation of our ideas. This is a feedback process.
I observe what I do, see if it fits the concept, or if it can fit a slightly modified con-
cept, then redo or continue to work on the image. The conceptual subspace changes
because of the modifications, and the material representation change because of my
actions. When the conceptual and material representations have converged, the work
may be considered finished.
8.3.4 Example Scenarios
The creative process as a back-and-forth translation between material and concep-
tual representation is illustrated by the very simple example in Fig.
8.6
, and by the
following examples from my own works:
(1) When composing, I might have the idea to try to overlap certain rhythmic and
melodic patterns of different lengths, a medieval technique called isorythm. I can-
not predict the output in any other way than by implementing it, generating a sketch
score—the first material form. It turns out OK, but at many places the two voices
collide in an interesting manner, hinting at unusual chords, and sometimes the two
voices combine into a single pregnant motive, where the two voices intertwine. I re-
vise and extend my original concept to involve elaboration of these coincidences.
