Formation of an Art Concept:

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  • 現代美術家の作品コンセプト生成過程の解明
  • 現代美術家の作品コンセプト生成過程の解明 : インタビューデータの計量的分析に基づいたケーススタディ
  • ゲンダイ ビジュツカ ノ サクヒン コンセプト セイセイ カテイ ノ カイメイ : インタビューデータ ノ ケイリョウテキ ブンセキ ニ モトズイタ ケース スタディ
  • ―インタビューデータの計量的分析に基づいたケーススタディ―
  • A Case Study Using Metrical Analysis of a Contemporary Artist’s Interview Data

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The process of formation by an artist of an art concept for the production of a new<br> series of artwork has not yet been empirically elucidated. The goal of this study is to<br> describe the process of art concept formation by a contemporary artist through metrical<br> analyses of a text corpus based on interviews with the artist. From an analysis of the<br> frequency of occurrence of items of vocabulary in the interview data and the TF-IDF<br> (term frequency-inverse document frequency), we find that the second of three phases<br> in the artist’s creative process was the most critical for the formation of the art concept,<br>as shown in our previous qualitative study. Additionally, it is demonstrated that the art<br> concept, White Noise, was inspired by a motif generated by the artist, and its contents<br> were continuously modified and developed over time. Further, based on an analysis<br> of co-occurrence frequencies of words, the structure of the art concept was deduced<br> from the importance of co-occurring vocabulary. By means of visualizing the network<br> of co-occurrence analysis, it is clarified that the feature words Large Glass functioned<br> in the first phase as an intermedium for dividing the structure of the concept into two<br> parts. In the second phase, these two parts of the structure of the concept became<br> integrated into one. In the last phase, the structure of the concept was elaborated with<br> the revived feature words, White Noise and Duchamp.

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