本文主要内容是身体运动和空间控制下的新风格的可能性，例如，人类学家马塞尔·莫斯(Marcel Mauss)在20世纪初对人类行为的观察中指出，不同文化背景的人在做同样的事情时，会有不同的手势。甚至使用简单工具的方式，如铲子，也可以与用户的文化背景相关联(O ‘Reilly, 2009)。无论规则有多严格，执行过程都会因个人的不同而略有不同。本篇英国酒店管理论文代写文章由英国论文通AssignmentPass辅导网整理，供大家参考阅读。
For instance, anthropologist Marcel Mauss in his observation of human behaviour in the early 20thcentury, shows that different individuals from different cultural backgrounds have different gestures when they are doing the same thing. Even the way of using a simple tool, such as a shovel, can be linked to the user’s cultural context (O’Reilly, 2009). No matter how strict the rule is, the process of execution will be slightly changed by different individuals. Hence, in addition to personal experience, the execution of rules/laws is alsoimpacted by cultural background. The work that is being analysed here will hence not only simplify the process of art production, but also focus on the potential effects of bodily movement. This capture of body movement will be helpful to explore how culturalsexual signs and meanings may leak back into the work.
Disciplines, which regulates our body and society, forms the culture as well as modelled by culture. Based on Foucault’s methods of genealogy, a radical process calls de-subjection, is empowered in challenging the definition of ‘who we are’ through undermining the traditional identities of individual subject from cultures and history. Contrary to the blind faith in disciplinary power which cultivates and regulates our behaviours, Foucault never tries to define what is true for everyone through a single story. There is no real self, but various possibilities of ‘who we are’ in the reflections of culture and history. Namely, Foucault’s genealogy does not attempt to chart a common course for all humanity (Hoy, 2012, p.210). With respect to theembodiment of de-subjection in my work, it is not only about the reflection of disciplinary power in social, cultural or historical element, but also the freedom in self- critique or analysis, which may contributeto the creativity of concept and effects.
Even though the definitions of ‘artistic form ‘have being frequently transformed and keeps expandingin contemporary society, the ‘artistic intention’ still plays a significant role in the identity of being an artist. For example, my artistic intention is to visualize the potential style of restricted conditions. Namely, in order to act as an artist, reflecting the interaction between the setting rules and bodily movement in artistic way is essential. Therefore, what I am going to present is about demonstrating the process of work production in different ways, such as painting, moulding, or physical print. In fact, there is no intention thatcan be absolutely classified as an ‘artistic way’. Maybe we can simply refer to what Bruce Nauman said: I am artist, so whatever I do in my studio is art.
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