本文主要讲的是身体运动与空间,我对空间特征的决定试图让作品充分展示我的身体运动。也就是说,空间的设计是让作品象征性的代表我的身体。梅洛-庞蒂说:“我们必须避免说我们的身体在空间或时间里。它居住在空间和时间里……我属于它们,我的身体与它们结合,包括它们”(梅洛-庞蒂,1945,第162页)。也就是说,空间的组成部分,如呼吸、高度或深度,并不是并置的,而是共存的,我们的身体可以同时感知到。本篇美国作业代写文章由美国论文人EducationRen教育网整理,供大家参考阅读。

My decision for the character of space attempts to let the work fully demonstrate my bodily movement. Namely, the design for the space is to make the work symbolically represent my body. M. Merleau-Ponty claims “We must avoid saying that our body is in space, or in time. It inhabits space and time…I belong to them, my body combines with them and includes them” (Merleau-Ponty, 1945, p.162).Namely, the components of space such as breath, height or depth, are not present as juxtaposition, but co-existence, which are simultaneously perceived by our body. Therefore, as an instrument of subject, my painting or moulding limbs are always acting with the simultaneous sense of breath, height, and depth of surrounding space. In fact, both external space and objective body, are belonging to an undivided synthesis, which is possessed by the subject (Merleau-Ponty, 1945).
If we observe the process of bodily movement in an empty space, the space, as what is presented, is in fact possessed by the movement.In other words, what a body possesses, including physical movement, implies the ability to immediately ‘understand’ and react with the characters of space, just like what a voice possession implies the ability to change key(Merleau-Ponty, 1945). Therefore, the capacity of space in my work could be considered as a synthesis of my bodily movement, which is presented by an absent body. Namely, the main concern of my practice is that the abstracted bodily movement will be visualized instead of the physical body itself.
In Bruce Nauman ‘s early series of gestural work Fingers and Holes, what he explored is the sculptural presence of the relationship between body and space. In these works, the ‘holes’ between the fingers, are not only negative spaces but also substantial parts of the gesture. They had a role to play. In other words, the spaces between the fingers should not be considered empty, but a significant part of the whole artistic presence (Basualdo and Taylor, 2009). Similarly, in my work, the physical body, abstracted movement,and emptyspace, should be viewed as an undivided unity.

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