Arjun Appadurai, "Disjuncture and Difference in the Global Cultural Economy", Modernity at Large: Cultural Dimensions of Globalisation, Minneapolis: University of Minnesota Press, 1996, pp.27-47

The points that are raised in the article have articulated some problems or questions for the trend and global cultural flows. In addition to my thoughts of how the art is leading us to within those boundaries and how they have affected artists in terms of art making.

With rapidly developing technology, just like "rhizomic" (Appadurai, 29) we, as studying as independent artists, are surrounded by the tremendous amount of diverse and globalised resources to look at for art practices to develop on, and to create a style of our own. With a huge number of people moving in and out of their countries to another, a country is a globalised with different people all over the world losing its own instinct or traditions. It become an endless map of lines stating travels of people from one place to another creating cross cultures and can be described as "we are in the epoch of simultaneity" (Foucalt, 60). This is a great advantage in art practice being able to look at a wide range of works as well as being able to widen our knowledge. However, it seems to have no specialty or individuality in the work in terms of presence. What I mean here is that due to referencing all sorts of styles from globalised resources, nonetheless the artists do pick out areas that are of interests to themselves, but they seem similar, with similar type of materials, compositions and so on. Where does the work belong? Shouldn't there be some kind of specialty in the work that dominantly shows the artist’s presence? Especially with contemporary art which is referred is "anything can be turned into art" (Kraus, 147) something that do not refer to craftsmanship, something that cannot be marked as one's style. If we were restricted to look at the works that are produces in that country only, what kinds of effects or how different would the work be? The flow of trend works in the similar way as to the cross culture aspect. “Americans themselves are hardly in the present anymore…and so on ad infinitum.” (Appadurai, 30).  They announce the new style as if they are new, but they are reoccurring in an endless circle, the old ones coming back with some kind of new things added to it, just like an old trend disguised as a new.

Arjun Appadurai, "Disjuncture and Difference in the Global Cultural Economy", Modernity at Large: Cultural Dimensions of Globalisation, Minneapolis: University of Minnesota Press, 1996, pp.27-47.

Chris Kraus "Bad Nostalgia", "Cast Away", Video Green: Los Angeles Art and The Triumph of Nothingness, New York: Semiotext(e), 2004, pp.111-114 & 145-150.

Michel Foucalt, "Other Spaces", Utopias: Documents of Contemporary Art, Whitechapel: The MIT Press, 2009, pp. 60-61