代写被发现：Rauschenberg的作品
在短路过程中，有许多元素被抛出，从圆点布到随机的纸张和纤维。有一些小照片是粘在表面上的。这在柜橱的描绘中得到了象征。这些是铰链橱柜门，代表一个操作过程，而不是艺术家的形象。Rauschenberg所呈现的散乱的物体是在他与作品的互动中呈现出来的。作品的每个元素都被看作是一个真实世界的实体或某种形式的操作过程，如铰链门。虽然这是平面的代表，但斯坦伯格的论点中有一些不能应用于它的元素。斯坦伯格表示，平板的东西，明确删除垂直的立场从它。在观看Rauschenberg的作品时，一种垂直的姿态被理解为这是一个橱柜，因此它是垂直的。这将导致矛盾。然而，如果没有对橱柜或橱柜的先入为主的概念来看待这件艺术品，它也可以是某种桌子。它以表格的形式出现，其中包含可以像主干一样打开的绘图。
这些画和照片可以理解为一直放在桌子抽屉里。在当代，有绘画桌和学习桌以这种方式向用户开放。因此，水平面不需要被理解为仅仅是空间方面，它邀请读者参与在空间中创造的幻觉。Rauschenberg在创造水平面时试图在空间性上制造混乱。我们发现，这些空间的创造是为了在观众的脑海中与自己相对立，如果斯坦伯格认为这是平床的目标，那么Rauschenberg的作品确实可以被称为平床。本文分析了斯坦伯格在平面上的论点，以及他与劳森伯格等艺术家的作品所产生的证据。得出的结论是，Rauschenberg的作品《短路》强调了平床分析不仅仅是关于维度，而是关于为观众创造的空间体验。在艺术作品中引入的水平面，邀请观众从艺术家的角度，以相互冲突的空间来反思实际的设置。
代写被发现：Rauschenberg的作品
There are many elements that are thrown around on the Short Circuit, ranging from polka dot fabric to random bits of paper and fibers. There are small photographs that are glued to the surface. This is symbolized in cupboard portrayal. These are hinged cabinet doors representing an operational process, instead of an image of the artist. The scattered objects as presented by Rauschenberg is presented out of his interactions with the work. Each element of the work is seen to present a real world entity or some form of operational process such as the hinged door. Now although this is representative of the flatbed, there are some elements in Steinberg’s arguments that cannot be applied to it. Steinberg presents the flatbed as something that distinctly removes the vertical stance from it. In viewing the work of Rauschenberg, a form of vertical stance is understood as this is a cupboard and hence it would be vertical. This would result in a contradiction. However, looking at the art work without a preconceived notion of a cupboard or a cabinet, it could also be a table of sort. It appears as a table which has draws that can be opened up like a trunk.
The paintings and the photographs could be understood as having been kept inside the drawers of the table. There are painting desks and study desks in contemporary times that open up to the user in this way. The horizontal plane hence need not to be understood as just dimensional aspect, it invites the reader to partake of the illusions created in space. Rauschenberg in creating the horizontal plane attempts to create a confusion in spatiality. It is found that these spaces are created to oppose themselves in the mind of the audience and if this was the objective of flat-beds according to Steinberg then Rauschenberg’s work could indeed be called a flat bed. The arguments of Steinberg on the flatbed and the evidences which he produces with the work of artists such as Rauschenberg were discussed in this analysis. It is concluded that works of Rauschenberg titled Short Circuit highlights how the flat bed analysis is not just about the dimensions but is actually about the spatial experience created for the audience. The horizontal plane introduced in artworks invites the viewer into introspecting the actual setting from the eyes of the artist with conflicting spaces.