The creative process begins with a concept, an idea or an intellectual transmutation of our interpretations of the reality which we perceive. At the stage of conception the idea or thought of novelty has no expression for itself as it has not yet been summed up within the structure of linguistics.

Without the concept there can be no expression and therefore no creative process. Yet the concept, no matter how precious, is the most fragile and immaterial. No finger printing or material  token denotes ownership of a concept and hence once expressed the conceptualist, the one who conceives an idea and rudimentarily expresses it, becomes expendable.

It is for this reason that conceptualists tend to guard their treasures jealously, knowing only too well that their worth to the creative process is measured in the credit that they receive for their concept. It is no accident that pioneer scientists tend to be some of the more suspicious in the world.

Truth be told, not all concepts are successfully divulged thanks to this aura of fear that persists over the creative field and, truth also be told, both the field as well as society in general are not too concerned about the well being of the conceptualist. It is unsurprising that secret knowledge have gone to the grave with their creators and keepers. What else is to be expected?

This is one of the reasons that I decided to place the articulator as a category separate from the conceptualist, and I shall explain this further in the section to come dedicated to the articulator.

This entry was posted on Thursday, December 6th, 2007 at 9:39 pm and is filed under A matter of perspective. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.