A TWIST OF UNCOMFORTABLENESS脑科学与“重口味”
21世纪的人类会发展成什么样子？科技会改变人这个物种吗？艺术和创造力是否会成为人类区别于机器的最终指标？艺术和科技如何共处并被人类使用，是科学家和艺术家长久探讨的命题。对于年轻艺术家陆扬来说，她将两者结合，用科学和学术的方式研究和创作作品，用游戏化和充满视觉冲击力的表现形式呈现作品，最终指向在当下和未来人的意义和可能性。 How will humanity develop in the 21st Century? Will science change humans as a species? Will
Lu Yang's creations integrate science, religion, psychology, neurology, game, and pop culture; they have a special focus on the meaning of biology and materialism in a human's short and fragile life. Though the artworks are presented in ways that are sarcastic and with somewhat “heavy taste”, we don't experience the emotional aspect of life, rather they allow us to continuously reshape our understanding of the world with an open mind - from a single point of view to multitude viewpoints while putting humans at a very low position.
For instance, in Kraft Tremor, Lu discusses the paradoxical relationship between Parkinson's disease and its treatment. As a central neurodegenerative disease, the main symptoms of Parkinson's disease are muscle stiffness, tremor, slowing movements or even loss of mobility. The biggest problem Parkinson disease patients face is movement disorder, they cannot control their own movement at free will. Currently, the most effective treatment for the disease is deep brain electrical stimulation technology (DBS). It is the most mature technology that exists to target treatment for limb tremors of Parkinson's disease. Lu's artwork on one hand introduces the disease and its treatment using scientific maps and animation; on the other hand, musical segments are composed based on the tremor frequency samples Lu collected. Through visualization of confrontation, Lu explains the paradox relationship among control, being controlled, losing control, and treatment. Through human body's sickness and electronic rhymes, Lu puts us in a space full of electronic-stimulated pleasures and moral evils thus reflecting the moral dilemmas.
Lu's work often gives people a sense of uncomfortableness without them being aware of why, perhaps that is exactly what we should feel, our traditional view that humans is above all in the world and our view of the complexity and possibilities of being humans are being challenged.
VANTAGE：How did you become interested in human body, medicine, and psychology?
Lu Yang：I became interested in these fields when I was a kid. I felt that discussions of these topics could, on a larger scale, break through the barriers set by our backgrounds and nationalities so we can discuss the common issues that everybody face; many people can understand my artworks without any additional conditions except for being a human him or herself.
VANTAGE：Is there a particular artwork, historical event, author, or expert who had a big influence on you? How did you become interested in religion? Lu Yang：I love Stanley Milgram and B.F. Skinner. In regards to interest in religion, it started when I was a kid because we had a lot of religious books at home.
VANTAGE：Do the Buddhas from Wrathful King
Kong Core have prototypes? What is the meaning of the religious symbols in your artwork?
Lu Yang：The prototype is Yam ntaka. When the signs of anger stimulate our brain, the message is first delivered to the thalamus, the incoming anger information then activates the amygdala, amygdala in turn processes the information to activate a series of brain structure - they are responsible for turning the nerve signal into angry action expressions. This was a somewhat silly project that combines religious view of anger from a Buddha and the scientific interpretation of human anger and its reflection mechanism.
VANTAGE：Medicine, neuroscience, psychology, and religion are all different ways to understand the world, but they all have biases. Some are hard to explain logically, how do you personally deal with the incorporation of so many different views in your artwork? Lu Yang：I think it is our instinct to understand some basic problems when living on earth; for instance, how we were born and what happens after we die. All materials and sciences in life help us understand the world. Ultimately which science or religion we choose believe in is up to ourselves, so what I like to do is to get to know every one of them, then through them to discover my areas of focus.
VANTAGE：Do you think the development of science, artificial intelligence (AI) will threaten to human growth? For instance, artificial intelligence and machines might dominate the world one day?
Lu Yang：I think we should let nature take its course. Humans will always regard ourselves as the centre of the world, and we think technology and AI will bring threats to our lives, but whether it is technology or anything else, humans will still have to face the natural cycle of life and death. No AI or machines will destroy humans, I think humans will still die on their own, we will not live forever. 《贵在上海》：你对身体、医学和心理学的兴趣是怎么开始的？陆扬：我从小对此就比较感兴趣，我觉得对这些东西的探讨可以更大范围地打破知识背景和国籍，来探讨每个人都会想到遇到的一些问题，更多的人可以理解这些作品而不需要除了自己作为生物之外额外的条件。 《贵在上海》：有没有这方面的作品、历史事件或者作者、专家等对你有比较深的影响？你对宗教的兴趣是如何开始的？陆扬：我很喜欢米尔格莱姆和B.F.斯金纳。关于宗教的兴趣是从小开始的，因为家里有很多宗教书。 《贵在上海》：作品《忿怒金刚核》中的佛像，是有原型的吗？这些宗教符号在作品中有怎样的寓意？陆扬：原型是大威德金刚。当标志愤怒的感觉刺激进入大脑时，信息首先传到丘脑,传入杏仁核的愤怒信息激活杏仁核，杏仁核进行加工会依次激活一系列脑结构。它们负责把神经信号转化成愤怒的动作表达。此项目就是一个将宗教本尊忿怒观与科学理论上的人类愤怒情绪反射机制相重合的作品。 《贵在上海》：医学、神经学、心理学、宗教等都是认知世界的不同方式，但有些偏理性，有些相对难以用理性阐释，你个人如何处理这么多认知系统在作品中的运用？陆扬：我觉得活在地球上人类的本能就是会想要知道一些最基本的问题，比如人是怎么来的，死了之后是怎样的，那人类社会的各种产物各种学科就会作为参考去帮你理解这个世界，最终相信哪个学科，对那种事物认知的取舍就是因人而异了，所以我喜欢的点就接触到之后自然而然地去通过它们探讨我自己的关注点。 《贵在上海》：你觉得科技、人工智能的发展会对人类发展带来威胁吗？比如有一天人工智能、机器人成为世界的主宰。陆扬：我觉得这些都随便吧，人类肯定以自我作为世界中心，会觉得这些会有威胁，但是不论是科技还是其他的，人类自己还是要面临生老病死的自然规律，没有人工智能、机器人灭掉人类，我觉得人类终究还是会自己死的，不会永生。
本页起顺时针CLOCKWISE FROM THIS PAGE《子宫战士》UTERUSMAN , 2013《忿怒金刚核》Wrathful King Kong Core, 2011《癌宝宝》Cancer Baby, 2014