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