[Symmetrically] Relative to sex and substance: physical aesthetics of non-removables

summary: in dewey's practical aesthetics, it is essentially a local aesthetic experience.

the body plays a fundamental and critical role in the context of the non-aesthetic experience.

it must rest in a specific, living body, which is the most immediate means of survival.

unlike the material cultural heritage, the non-punishment is premised on the physical intimacy, which has three meanings: first, that the body is the essential constituent element of the non-punishment and that direct physical experience is indispensable; second, that the non-inheritance must be the body's passing, and that it is a “physical” perception; and third, that the non-punishment of the aesthetics is an integrity without distance, calling for body input.

the sexual consciousness of the body that binds us together has prompted us to rethink the central question of the non-remaining.

- the subjectivity of a non-remote can only be based on the propriety of the body, and the non-inheritance of a particular skill is in itself a “mainty place”.

keywords: intangible cultural heritage; non-pentine aesthetics; body aesthetics; living aesthetics; and how the non-penalty of the protection of human beings achieves the vision of cultural sharing, that is, “the beauty of all, the beauty of all” — a fundamental question that is constantly being explored in the study of non-penalism.

while the word “aesthetic” in the words “aesthetic, beauty and communion” does not mean “aesthetic”, it in fact reminds us that “aesthetic” may be the main avenue for achieving non-cultural sharing.

as early as 1972, unesco emphasized the dimensions of art and aesthetics in defining the concept of cultural heritage.

later, the convention for the safeguarding of the intangible cultural heritage, in its definition, highlighted the content of art and aesthetics.

richard schustermann, in an interview, said: “before 1992, asian culture seemed to me to be a foreign culture with no interest in it.

but through such a largely aesthetic, emotional, emotional relationship, i began to become obsessed with asian culture, especially its aspects related to body aesthetics.” schustermann's “others” experience tells us that aesthetics do help to achieve cultural commonality and sharing.

however, both abroad and at home, non-familial studies are not yet fully developed, and more and more research is urgently needed.

in order to achieve the vision of “americanism and community”, it is true that protection requires aesthetic interpretation.

however, from the point of view of academic development itself, does it require aesthetic intervention? did the society focus on the issue of non-punishment? on the one hand, the non-removable protection, originally a cultural policy and practice, is moving towards intangible cultural heritage through more than two decades of academic research.

to be a “scientific”, it is essential to clarify the inherent unity of the concept of non-practition.

the “protection” of “management” disciplines is difficult to take on, and objectively requires the involvement of disciplines that are good at meta-theory thinking。on the other hand, aesthetics, which are primarily concerned with physical and intellectual issues, is undoubtedly a subject that has grown longer than meta-theory; since the twentieth century, aesthetics have begun to “go down” and to focus on popular culture, along which lines it can, of course, extend to non-removable areas.

even if it requires aesthetic intervention and aesthetic research is desirable, can aesthetics certainly extract “aesthetic” from a multiplicity of complex non-aesthetic phenomena? as a matter of common sense, knowledge and skills such as beads, twenties, brews and pickles are not visual aesthetic.

actually, the aesthetic is not just a sense of visual experience.

in aesthetic activities, reason and mind have an important place.

back in the early days of modern aesthetics in the west, shafzbori argued that aesthetics needed “inline eyes”, i.e.

the participation of the mind.

baum gatton suggested that “the purpose of aesthetics is to develop a sense of knowledge, which cannot be developed by itself.

it requires rational guidance, that is, rational participation in aesthetics.

hegel made it clear that “art works are, of course, not just emotional objects, but only sensory things, which are, on the one hand, emotional and, on the other, essentially spiritual” and that “the very essence of the mind is thought”.

in kandeh aesthetics, the aesthetics rely on a “reflectional judgement”, “not a sense of perception as a yardstick”.

the history of aesthetic thinking shows that we cannot limit aesthetic activity and the scope of aesthetic research by such concepts as “visual” “hearing”.

accordingly, it is not only the art or landscape that is the aesthetic object, but the whole life of society can be transformed into aesthetic experience.

in the aesthetics of phenomena, it is the day-to-day experience of the world that constitutes the subject of aesthetic studies.

dewey made it clear that “any actual activity would be aesthetic if it were complete and realized under its own impulse”.

in dewey's view, the stinging of fish is an aesthetic satisfaction, and the ceremonial rituals of rain-seeking and child-seeking directly enhance life experience and aesthetic.

anthropologist boes also stated that “all human activities can be of aesthetic value in one form or another”.

in this context, the culture of daily life of the people, which carries with it the full emotion, rich imagination and completeness of the people on a daily basis, in its particular form and content, is undoubtedly aesthetic.

from an aesthetic point of view, it is in essence a local aesthetic experience.

in fact, there's been a long time since the country's scholars started to study non-aesthetics.

in recent years, ko xiaochang, zhang na, juruoning and others have further advanced the development of non-remain aesthetic research into deep and deep.

for example, gao xiaokang, not only responding to the central question of why he should be the subject of aesthetic studies, but also stating that “the history of life in the past has evolved, congregated and improved in social development and in the history of history, and has transformed into a spiritualized cultural form, expressed in the most fundamental sense of the aesthetic experience, i.e., that of an image, local knowledge, imagination and emotional experience, unique to a cultural group”。he also offered the meaning and direction of non-pentural studies, which, in his view, meant the discovery of the aesthetic value of folk culture, and would work to discover the poetry of traditional life skills and to promote their return to modern day-to-day life at the aesthetic level.

on the basis of a non-pentural perspective, zhang na suggested that, in the post-industrial era, the culture of handicrafts should be re-engineered with the “aesthetic aesthetics” at its centre, and that zhu yuening had found that traditional festivals had “the beauty of things”, which should be re-engineered as such in order to achieve their living heritage in contemporary daily life.

“the aesthetics of the intangible cultural heritage are a body aesthetics”, li fie further discusses the relationship between non-genetics and the body.

richard schusterman once stated that “the body of inspiration is the place where we feel (the feeling) and creative self-improvement”.

it is true that the aesthetic experience of human beings, with the participation of the power of mind and reason, comes mainly from sense and body.

in fact, modern aesthetics in the west began with a discussion of human feelings and bodies, as terry eagleton said, “aesthetics were born as a word about the body”.

richard schustermann traced the concept of body aesthetics back to baum gatton, the “father of aesthetics”, who stated that “bomcartone defines aesthetics as the science of sensory understanding, and is designed to improve it.

the feeling is of course physical and deeply influenced by physical conditions”.

physical problems are of particular importance in the case of non-paramony.

first, unlike material cultural heritage, its existence must be based on the body, which is known as “the human being is in the arts and the human being dies”; secondly, it goes from intangible art to physical presentation, which cannot be separated from the physical medium; and, secondly, all types of non-remnant are related to the body, which can be the logical starting point for non-remnant classification and recognition.

this means that, unlike the material cultural heritage, the non-remnant is premised on physical kinship.

what do you mean, "p"? how does the body constitute a non-derogable element? how does physical intimacy affect non-removable substance? the body aesthetics of non-remaining need to respond to these deeper questions.

the sexual nature of non-removable physical relatives consists of three dimensions: first, that the non-removable is a living patrimony, whose active nature is inseparable from a specific body, i.e., that the body is in fact an essential component of the non-removable; second, that non-inheritance must be a physical patrimony, which is understood as “em-bodies”; and, third, that the aesthetics are not distanced from distance, but from distance.

living heritage is the essential element of non-removable protection and cannot be achieved without it.

the convention for the safeguarding of the intangible cultural heritage, which provides that non-removables must be “intergenerationally transmitted”, may be “recreated continuously” and that “`protection' means the adoption of measures to ensure the vitality of the intangible cultural heritage”, is implicit in the concept of “living transmission”.

national scholars, aware of the main spirit of this document, began to emphasize that it was “movement and development, which could not exist independently from producers and users, as living elements in the lives of specific groups, as a traditional way of development, and which it was difficult to secure and preserve by force”。shortly thereafter, the concept of “active” was directly introduced by scholars, who listed it as the top of the four remaining features, and the idea of “active protection” as one of the fundamental principles of non-viable protection.

however, it was not until 2007 that the two concepts of “living” and “inheritance” were combined, and the concept of “inheritance” was clearly introduced.

since then, until 31 december 2021, more than 400 non-incorporated research papers containing “living heritage” have been published in china.

it is literally an intangible, material cultural heritage, but it is not, whether it is traditional oral literature, traditional art, traditional dance, traditional art, traditional rituals, traditional festivals, or not, that it is presented in a tangible, concrete form.

the main thrust of the non-exhaustive emphasis on intangible and non-materiality may not be in the written sense, but rather in order to emphasize its living heritage.

the so-called living heritage means, on the one hand, that the heritage is always held by a specific group of living people, dependent on the life of a particular person, and, on the other hand, that the non-remnant “works” left behind by the owner of the heritage, once the death of the person in charge of it, can be antiquities, and, on the other hand, that it can only be transmitted directly between specific lives, through indirect means such as text, video and so on, and that it falls within the sphere of dissemination rather than living heritage.

will only depend on specific, living bodies.

in other words, the body is actually the most direct means of existence.

in traditional festivals, traditional dances, traditional rituals, only the direct participation of each particular body can make invisible culture a reality and become a shared heritage; in traditional oral literature, traditional fine arts, traditional crafts, tangible “works” can be produced only through oral talk, handwork and recognition of the value of such non-removables.

in other words, the non-removable “living” means that it is context-specific and that it is only in a particular situation that every specific practice of the body, i.e., that the body must be present, that is, that it can “be present” in order to be able to develop itself.

the problem is that, although the basic principle of “people in the arts” is well known, a system of inheritance protection has long been put in place, it does not really understand the physical nature of the non-removable.

in tourist attractions, especially in historic neighbourhoods of cities, there are always “non-removable” commodities.

in fact, these goods are rarely produced by non-removable processes, mostly by modern machines.

however, the general consumer does not mind that this is a non-repeated product, which is affordable and meets the needs.

this paper is not intended to criticize this phenomenon, but it captures a general social perception that it can exist independently of its heirs and can be simulated.

in fact, there is no such thing as being imitated, because the physical propriety of a true non-removable work is inexhaustible, and it has nothing to do with it without the physical propriety of the person who passed on it, at best by using a non-removable name.

the emphasis here on physical propriety looks like a hymn in benjamin's so-called work of art that it can't be mechanically replicated。the value of works of art in the elite cultural spectra comes mainly from the framework of artistic history, and the hymns arise mainly from the uniqueness of the work given by the author.

in the case of non-removable works, the value derives mainly from the non-removable identity, not from the artistic history or uniqueness, which can only be marked by physical propriety.

active inheritance means non-inheritance is a direct transfer between bodies.

in essence, it is a culture of daily life for the people who are still alive and an important part of folklore.

this is rooted in people's daily lives and consists of a wealth of feelings, consciousness, memory, etc.

in his view, folklore, as the language and means of communication, is the most enriching and the fullest condensing of the lives of the local people, thus creating a culture of everyday life with a holistic nature, which cannot be fully presented in any text; the current problem of non-retentional protection is partly due to the neglect of the link between non-removable and holistic aspects of life.

it is also difficult to describe in words, to use symbols in abstraction or extraction, and cannot simply be presented or inherited through words, scriptures, languages, etc.

the memory, the taste, the emotions and the atmosphere of groupization, among other things, are not concentrated in the body, all of which is immersed in the body, which is externalized and expressed.

in the final analysis, it is a personal knowledge that can be passed on only directly through the body, i.e.

through direct communication between the bodies to achieve intergenerational continuity.

so-called “physical”, “that is, it arises from the interaction of the body with the world.

from this point of view, knowledge depends on the body's experience, which comes from bodies with specific sensory and motor capabilities that are inextricably linked and that together form an organism in which reasoning, memory, emotion, language and other aspects of life are woven”.

this physical knowledge relies on the physical experience of a human being, is filled with individualized experiences, interests and tastes, is interwoven with subtle skills, secrets, feelings and psychology, and is difficult to articulate in words, which is the most difficult part of the system of non-inheritance, referred to by the polani as “tacitknowledge”.

“invisible knowledge is knowledge that exists in an individual's head, that is in a given environment, that is difficult to formalize and that is difficult to communicate, and is a key part of knowledge innovation.

invisible knowledge derives mainly from individual judgement and perception of the outside world and from experience.” in response, yu sundh pointed out that “the relationship between the body perception project and the sensory experience appears to be simple but in fact very complex.

at the individual level, as everyone grows up, we need to build the capacity to classify and identify five sensory sensory senses, starting with the most basic, short, dark, dry and wet, salty, loud and sound, rough, nuanced, soft and hard, cold and hot, itching, smelly, etc.

these projects do not exist in an abstract or conceptual form alone, but rather have an empirical connotation and meaning when individuals have a direct correspondence between their bodies and their objects or their material and social environment”。for a good non-remainer, the wealth of knowledge accumulated in accumulated technical practice is often physical and hidden, such as the determination of the extent of the atrophy of tea, the burning of ceramics, the ratio of the clay, and even the use of tools for physical postures, mastery, control angles, prejudication of distance, size, thickness, length and so on, and so on, the “favorite” and “modernity” of physical practice.

this mastery of technical skills is largely reflected in the body's experience and special experience.

as the japanese philosopher tosaeng tae-ho has said, true knowledge cannot be acquired only by theoretical thinking, but only through “body awareness and understanding”.

similarly, the platitude of performance-type non-removable techniques is reflected in the knowledge of the vermin or state, which is filled with nature, self-respect and freedom of “mutual integration”.

this aesthetic state of technical practice is the result of the full application of the body.

“many people have tried to show some aesthetic impulse, but they have failed to achieve it.

what they seek is a perfect form of vision, which cannot be fully expressed due to a lack of training in their muscles.” the “hardness” of the technique depends on the body's proficiency and sensitivity; the skill “know-how” that exists in a variety of non-premises is often a summary of particular physical experience.

in sum, non-genetic inheritance is based on physical experience or body consciousness and is a process of exchange of emotions and experiences between different human beings, involving a great deal of body imitation.

teacherism is a more appropriate way of passing on knowledge and tacit knowledge than schooling.

for example, traditional residential construction techniques, where teachers and apprentices are taught in one-on-one and more-to-one forms in practice; techniques such as “stable” “silent” “silent” “silent” “silent” techniques, which are manifested in language, action, without pre-planned drafts or drawings or writings; and not the transfer of technology between the passers-by and the recipient, but rather the development of physical experience that can be firmly integrated into apprenticeships.

peng-feng found that, when performing rituals in hunan tea village, the apprentice must clearly simulate the master's physical experience in a conscious manner, and the apprentice “intenses the incense, lifts his head, in a particular direction — during the slow fragrance, bends and bows — in his mind to `draw' the image of the teacher.

that is to think carefully of the specific scene in which the master taught him/her rituals”.

it is clear that this ritual of inviting teachers through their authors can only come from the hands and ears of masters, and it is not possible to study indirectly through books.

thus, the transfer of human knowledge depends not only on the type of medium that separates the text from the body, but also on the more diverse and basic human cultural experience acquired through the long-term practice of physical and psychological integration, the technology that binds the body, and the human person itself, which is constantly being updated and developed.

in response, moss affirmed the priority and importance of “physical technology”, “the body being the first and most natural tool of the human person.

or, to be more precise, it goes without saying tools, the first and most natural technological object and technique of a human being is his body。• a body of physical technology is in place before it is used as a tool”.

inheritance must be achieved by means of physical technology.

it can only be recorded or extracted by rigid, technical “favourable”, ritual “air” and performance of “hymn”, and it is even more difficult to promote the updating and regeneration of non-remaining knowledge.

physical propriety is also essential in terms of non-remnant aesthetic acceptance.

as a “small tradition” culture and a folk culture, the aesthetics are strongly physical “preventive” and “inclusive”.

the author has elaborated in detail on the aesthetic experience of folk art, stating that “in the aesthetic approach, folk art is different from the separative, objectistic aesthetic approach of elite art, which is an inclusive aesthetic approach”.

this non-classical and inclusive aesthetic is also applicable to the discussion of non-aesthetics.

it is a group-based art of communication, which is collective and shared, and whose aesthetic experience is not controlled by static, but by the “inclusion” of the distanceless body.

the “relationship” of the body begins with the participation of aesthetic senses, with direct contact between eyes, ears, noses, mouths and tongues, to see, hear, smell, touch, taste, etc.

for example, when playing with a purple sandpot, the touch, the sight, the hearing, the beauty of the traditional art in a holistic, multi-dimensional aesthetic sense, it is possible to imagine the shape, the strength of the craft.

it can be seen that the transmission of body experience not only flows between teachers and students, but may also reach the mind of aesthetic subjects.

and, like pottery, it's not for many people to learn to do it, but to get a taste of the aesthetic body, which is at the heart of it.

clearly, the acquisition of this aesthetic experience requires the body of the aesthetic subject as a medium for its completion, and the involvement of the body of the caller is shared, presenting an open structure.

especially in the performance of non-removable aesthetics, such as hymns, where people dance, twist their limbs, wave their passions and put their whole heart and soul into the joy of a collective festivities, “the directness of such joy is expressed through dynamic or regular body activity”.

there is no doubt that this aesthetic experience is distance-free, and the silent aesthetic aesthetics of those who deliberately maintain the aesthetic distance, bystanders, will only diminish the unique charms of folk performing arts, and must be felt in aesthetic experiences of physical and psychological discomfort with their physical relatives.

nietzsche has described this integration of physical experience in the birth of the tragedy: “at this moment, in the great evangelical world, every human being feels united, reconciled, reconciled and even integrated with his neighbour, as if he were a member of a higher community, and he has lost sight of his words and taken the wind.

his spirit indicates he's possessed。it's not like we're going to have to do this.

thus, non-removable aesthetics are not object-oriented aesthetics, but rather an aesthetic aesthetics of the context, requiring a thorough body input to feel the continuity and integrity of experience, and the cultural remnant of the original, and to avoid using them as a fragmented aesthetics to be seen in the form, rituals, and actions of the original language.

as can be seen from the discussion above, physical propriety constitutes a key point of definition, cognitive relics, and non-remnant aesthetic acceptance.

the “body” is both a centre of non-removable feelings and perceptions and an intermediary for display and communication, transmission and transmission.

from formation, presentation, passing through to the aesthetic acceptance, there is nothing less than physical intimacy.

we can say very much that non-familial aesthetics are mainly physical aesthetics.

not only that, but also the premise of the physical propriety or the non-prejudice.

the subject matter of

is one of the core issues of western philosophy, and in general there are three representative concepts.

one, represented by cartes de cartes, condé and hegel, is that human reason not only ensures identity, but also the freedom and dynamism of the human person, that is, that is, that the rational person is the subject; the other, represented by marx, aldusse and rolandbat, emphasizes the decisive nature of the social system in terms of the position and function of the human person, that the human person is not an absolute subject, although he is dynamic; and the other, represented by fukuo, that the subject is shaped by elements such as words, knowledge, power, and that there is no a priori or rational subject, which totally subverts the concept of the subject.

as fukuo has said, there are no independent, autonomous and ubiquitous subjects in their universal form, and the longer people think, the more they are invisible.

this does not mean, however, that the concept of subjectivity is worthless and pre-empts it as “a necessary prerequisite for meaningful socio-political thinking”.

in fact, in addition to structuralism and fukuo ' s concept of subversion of the subject matter, people are advancing their thinking on the subject matter along another path.

in response, li zhui zhui drew up a brief ideograph of ideas.

first, nietzsche stressed that the body is above reason, and he said, by the mouth of the awakeners, “i am completely flesh, and nothing, and the soul is nothing but a name for the flesh.

• the so-called "the mind" is also an instrument of your body, a tool of your great sense, a toy.” lake sal then solved the problem of self-relationship with others by the body's inter-relationship, and melo-ponty further developed the concept of “body charting” to “dissolve from the body's physical and spiritual rivalry”.

in sum, through the concept of body, the dominant philosophy has been re-established on the ruins of rational subjects.

late in the evening, richard schusterman, in his discussion of body aesthetics, argued that the body itself was “the dominant place”, and that body aesthetics research “regarded the body not only as the object of external displays of beauty, highness, elegance and other aesthetics, but also as a subject who perceives these features and can experience the beauty of the aesthetics of the aesthetics with which the body experiences them”.

schustermann sees the body as a “main site” and summons people to perceive the aesthetics of the body and to become the subject of the body's aesthetic consciousness, which is particularly instructive in understanding the subject matter of non-minus。On the one hand, unlike other cultural heritages, non-inheritance must be physical, and on the other hand, non-inheritance, which carries a certain skill, is the aesthetic object, the “predominant site”, and non-inheritance should be the subject of aesthetic self-consciousness to its own skills and body.

The body is a non-removable “main site” and the absence of propriety from the body means the deprivation of non-remote.

There is also a lack of adequate awareness of this in the practice of protection.

For example, in its investigation of the earth-clan embroidery dress, Kim found that embroidery was the most important event in the life history of women in the earth, and that it often took five to ten years to gather the family's strength to complete it, and that the fine plan of embroidery at the front, back, back, neck, neck, sleeves, etc.

was the condensation of the earth's family's physical consciousness, emotional attitude and all of its blood, and that the body's “spokes” had been embroidered into it, but had become a “work clothes” for performances.

For example, the participatory follow-up study by Liu Tsai on tofu-skin production in the village of Zhejiang found that “in the eyes of the villagers, it is not the technical and market dilemmas that are important to pass on and protect tofu-skin production skills in the village, but rather the withdrawal of villagers and communities, which leads to the failure of traditional skills”, in other words, tofu-skin art that breaks with the body and life and is deprived of the non-minority, which is at the root of many problems.

In the field of non-repeated performances, the non-removable “house” phenomenon, i.e.

“the ceremonialization, performance and further decoupling of the non-removables in the service of the human being, the village, the community, and the further use of the lenses and lenses”, has made the non-removables an object of presentation, in effect ignoring the sexual nature of the non-removables and depriving them of their physical integrity.

There are many such things.

More deeply, in the practice of non-inheritance protection, the non-inheritance has a lack of sufficient self-consciousness about its subjectivity, and it has even taken the initiative to target itself in a series of processes, from “remaining” to “planning” for “development”, to be the subject of market demand and political logic.

The rationality and internalization of the instrument may not only fail to act as a real protection, but may instead destroy itself.

Moreover, as a result of “remains”, the people's culture of daily life has become “a cultural exhibition that is being played by Governments, officials, business partners, scholars” and “who is not” has become a matter for serious discussion.

According to Fukuko, the subject matter is not established, but is structured and competitive, and, driven by political discourse, power structures, economic interests, government, the market, society, scholars, etc., can become the subject of non-preservation.

However, the subject of non-removable protection is not the same as the subject of non-removable protection, which has been discussed by Han Sung-yang, Song Joon-hwa and others.

Thus, the pluralist subject of non-removable protection needs to be limited in scope and to advance the process of consultation and cooperation, rather than replacing the real non-removable subject.

As Denis Byrne said, “Culture is not a thing, but a process”。non-removable protection is the process of communication and expression, creation and development with the present, in which due regard is given to the physical propriety and subjectivity of non-genetic persons.

december 2020's successful “screen of singapore: community food and cooking practices in a multicultural urban environment” is a typical example of respect for non-remnant subjects.

the culture of non-punishable traffickers protects not a high-level planning space, but rather small vendors, hawkers' foods and hawkers' centres as singapore's unique way of life, as well as the non-inherited physical prowess and substance.

while the culture of migrant vendors dating back to the british colonial period in the nineteenth century was often seen as a “problem” for urban policing, after singapore's establishment in the 1970s, singapore's government actively took the lead in the planning of new towns and put in place policies to advance the development of the culture of poachers, the key initiative being to promote their gradual integration into community culture as an important element in shaping national cultural identity and promoting multi-national unity.

there are 110 peddlers ' centres throughout singapore, with some 6,000 peddlers working in the industry and about 80 per cent of them visiting the peddlers ' centres at least once a week.

for the local population, the peddlers ' centres are both places where the population can solve their diets at a low cost, where they can pick up vegetables, meat and groceries, where they can talk, rest, interact, share, and, more importantly, where there are different races, genders, cultures, and physical shuttles, stationing, where people are connected to each other, and thus feelings and memories.

while the survival of “spoker centres” benefits from a diversity of subjects, such as government, non-governmental organizations, academics and training institutions, this dynamic culture is more dependent on the personal participation of the population, namely, the creation of a common cultural consciousness through human, local and food links and the generation of a cultural memory and intergenerational resources to the younger generation, and the real realization of the protection of intangible culture based on physical practices, which inspires and nurtures cultural pluralism in the process of protecting and perpetuating people's sense of physical practice.

in sum, “body” as an essential component of the non-pence affects not only the effective inheritance of the non-pest but also the real establishment of the non-pest subjectivity.

from a physical aesthetic point of view, it is not an objective “object” or a purely “vision” image, but rather a life experience based on physical practice, a body-specific experience of community coping with the external environment, adapting to self-relationship with society, and an aesthetic, cultural tradition inherited from the body.

emphasizing that it should be an emotional, memory and physical experience that accommodates different groups of people and is an intrinsically dominant culture of life, it is also, in fact, a return to the unesco position of non-practition — constantly recreated in the adaptation of communities and groups to the surrounding environment and in their interaction with nature and history, “to give them a sense of identity and history”, and that communities, groups and individuals “shall play a major role in the protection of the intangible cultural heritage they hold”, “shall assess the value of their intangible cultural heritage, which should not be subject to external value or meaning judgement”。it is clear that the concept held by the institute of physical aesthetics undoubtedly echoes the definition and emphasis placed by unesco on non-inherent subjects at the aesthetic level.

the final phrase

is inherently physical in nature, requiring physical intimacy as well as the predominance of the body.

from an aesthetic point of view, it is not only visual aesthetics, but more importantly the practicality of their bodies.

on the one hand, its physico-cognizance implies what dewey calls “an experience” and therefore aesthetic; on the other hand, the non-inherent body, as a technologist, is itself a “subject of aesthetic experience”.

the emphasis on the physical practice and aesthetics of the non-remains is both theoretical and relevant.

first, as noted above, the concept of a living heritage has been introduced by domestic scholars through the concept of “incorporate”, but the concept of a living heritage has not been underpinned by a lower concept, which has been resolved by the concept of physical practice and physical intimacy, such as sex and body body substance, so that the three concepts of non-material, living inheritance and physical practice form a core set of concepts that understand the non-inherent nature; secondly, the opening of this paper suggests that it is only from an aesthetic point of view that it is possible to understand what is not a shared public culture, and that the shared nature of visual experience is to a large extent governed by cultural traditions, but that the aesthetics based on physical practice are beyond visual experience, in which the non-inheritance can lead to the “living arts” advocated by richard schusterman, which has the limitless potential for cultural transformation; and, again, the emphasis on non-incorporial promotiveness can be effective and critical of the practice of non-incorporation and protection of body in order not to fall fully into the logic of tools.

(originally in national arts, no.

3 of 2022, annotations omitted, see original)