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material will make things more complex—it might not be, or should not be, a one-
to-one mapping.
Such double-linking is probably not possible with all kinds of representations,
but in the cases where it is applicable, it can provide valuable information about the
morphological relationship between concept and material.
After detection of discrepancies, the conceptual representation needs to be re-
vised, in one of the following ways:
Extension/addition: adding new details or new source material (themes, motives,
source images, “constants”);
Extension/generalisation: conceptually generalising the scope of the representa-
tion, e.g. when confronting coincidental material, extracting their core properties
and including them in the next representation, to minimise the risk of losing them
in subsequent iterations. Or when stagnating, remove hindering constraints, and
backtrack;
Variation: when the conceptual representation is tilted, shifted, or mutated, de-
pending on the form of the conceptual representation;
Restriction/narrowing: adding further constraints or removing unwanted material;
Association: when something that resembles some pre-existing material or con-
cept is replaced by a clearer reference, or related material from the same source
is added;
Replacement: when reaching a dead end or when the temporary form is com-
pletely reinterpreted into something else, the whole conceptual representation
needs to be replaced.
Local implementations of heuristic search, such as evolutionary algorithms or hill
climbing, could be used within the component of re-conceptualisation in order to
find suitable modifications. As long as these techniques are kept within this compo-
nent, any shortcomings should not influence the overall process.
8.4.4 Memory and Learning
A fundamental problem of computer-generated art is its relation to the real world—
the cultural and semantic content. To be appreciated by humans and to produce
meaningful content of any depth, the system must have access to the outside world.
This link could be provided on a rudimentary level by an intentionally imperfect as-
sociative memory model, where previously experienced material is retrieved by as-
sociation and incorporated into the creative process. This would account for cultural
constraints and generative aspects of culture, such as references, metaphors (Hofs-
tadter et al. 1995 ) and associations (Mednick 1962 ). It is also strongly emphasised
by Cope ( 2005 ). Such a memory model should also include memories of previous
results from the system, and in this case it could hold both material fragments and
the conceptual representations behind them.
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