返照自身，透過藝術家建構於虛擬與真實世界中的存在意象，討論替身、造神、身份的轉換，以肉身、意識與靈魂共存的存在證實，呈現對數位存在的思考，探詢自我與身體在數位時代的存在關係
The Mirror
沉浸式體驗藝術作品《鏡》探問自我與身體之間的關係。觀眾坐在坐椅上，頭戴顯示器與耳機，便可在前方猶如巨大鏡面的螢幕看到自己的身影，螢幕中的舞者敏捷地帶領觀眾展開一趟離開「此時此地」、探索不同空間的旅程。螢幕中的鏡像想當然爾呈現的是坐在椅子上的觀眾身影，但觀眾動作與「鏡像」的時間差，會扭曲視覺認知，產生一種身體和頭腦有落差的奇異感受，隨著真實 與虛擬環境的邊界開始混淆，觀眾也開始無法分辨真實與虛構。

替代實境(Substitutional Reality，SR)是由腦科學綜合研究中心(RIKEN Brain Science Institute)的調適型智慧實驗室(Laboratory for Adaptive Intelligence)所研發的技術系統，與虛擬實境(Virtual Reality，VR)和擴增實境(Augmented Reality，AR)等原先把目標設訂在「縮小虛擬和現實之間的落差」不同，替代實境透過納入過去面向，讓過去成為當下的附帶條件， 以消除現實和虛擬之間的界線，藉此對每個人主觀體驗到的「現實」產生影響。

​Immersive experience art piece "The Mirror" asks relation between the self and the body. Visitors sitting in a chair wearing a head-mounted display and headphones can see themselves in a large, mirror-like screen in front of them. From there, a dancer quickly takes them on a tour around various places different from the “here and now.” The assumed mirror images on the screen certainly show the persons on the chair, but the time lag between the visitors’ movements and those of their “mirror images” distorts the recognition of what they see, and thereby creates a sense of disconnection of body and mind. As the boundary between real and virtual environments is blurred, visitors become unable to distinguish reality from  ction.
​
Substitutional Reality (SR) is a system developed by the RIKEN Brain Science Institute’s Laboratory for Adaptive Intelligence. Different from previously known technologies aiming to “narrow the gap between virtual and real,” such as virtual reality (VR) and augmented reality (AR), SR eliminates the borderline between reality and virtuality by including aspects of the past as something contiguous to the present, and thus affects “reality” itself as it is subjectively experienced by each individual person.
靈魂曝光術
Spirit Photography
《靈魂曝光術》是一系列將空間中的動態轉換為曝光的影像實驗，這些影像為演算既有的影像檔案而成。
 
本作品以開放原始碼(Open Source)開發環境：Processing撰寫的影像分析程式，可以比較影片的前後影格，將動態部分進行曝光，因此隨著影格推進，曝光將逐漸浮現，形成一連串動態的軌跡，如同時、光與空間交互作用所留下的殘影。以科技為媒材，藉由電腦視覺(Computer Vision)的視角，突顯在時空中，人人皆是空無、匆忙之過客。
 
Spirit Photography is an image experiment that visualizes motion in space as exposure. The images come from the calculation based on existing archive images.
 
The work adopts open source as the development environment: the image analyzing program created with Processing compares the frames of the film and add exposure to the motion. So, as the frames change, the exposure gradually surfaces, creating a trail of motion while leaving residual images resulting from the interaction between time, light and space. The work employs technology as the medium and adopts the perspective of computer vision to foreground the fact that everyone is simply a passerby in our space-time.
上童謠
​Hau Dong Song
在越南，通靈仍是普遍的習俗，透過通靈，人們能與已故的親友溝通，或向鬼魂祈求保佑。而靈媒被附身時往往會隨著傳統民俗音樂起舞。越南藝術家Le Thanh Tung在這部作品中重現了這樣的通靈儀式，並將當地民俗與流行音樂混合製成背景音樂，以全息投影為媒介，試圖在數位科技中尋找家鄉文化傳統的本質。
 
In Vietnam, seeking the help of a psychic is a common folk practice. Through mediumship, people hope to communicate with their friends and families that have passed away or ask for protection from ghosts. The psychic often dances to traditional folk music when a spirit enters the body. In this work, Le Thanh Tung represents the folk ritual and creates the background music by mixing folk and popular music. Using hologram projection as a medium, the artist attempts to rediscover the nature of Vietnamese cultural tradition.
佛陀蟲計畫
The Buddhist Bug Project
《佛陀蟲計畫 The Buddhist Bug Project 》， 是由藝術家Anida Yoeu Ali先前的攝影、錄像、行為藝術系列作品《The Buddhist Bug》而衍生。在此作品中，藝術家嬉戲地置身於一個毛毛蟲般服裝，服裝顏色引用了僧侶的長袍。毛毛蟲靈感來則自於對佛教及穆斯林的幻想，以及對散居身分認同的探索。
 
The Buddhist Bug Project continues Anida Yoeu Ali’s previous series of photography, video and performance, entitled The Buddhist Bug. In this work, the artist wears a playful caterpillar-like costume, of which the color is reminiscent of Buddhist monks’ robes. The ides of mimicking caterpillar comes from Buddhism and Muslim as well as her exploration of diasporic identity.
數位薩滿計劃
Digital Shaman Project
《數位薩滿計劃》提出符合現今科技發展情境下的哀悼新模式，3D列印的亡者面具置放於家用機器人的臉上，機器人透過動作程式能模擬亡者的生理特徵，如：個性、說話及動作等，彷彿亡者靈魂附身於機器人身上。這個程式在亡者過世後會運作四十九天  − 根據佛教信仰，往生之人需要四十九天才會進入下一世 − 在這段時間中，家屬能透過機器人體驗擬真對話，猶如亡者仍在，而在第四十九天，機器人便會與家屬道別，自動關閉程式。程式的設計讓失去親人的體驗者與彷彿被亡者附身、靈媒一般的機器人相處四十九天，靈感源自於藝術家過世的祖母，對她來說，當時的喪禮提供了亡者家屬哀悼所需的儀式。

The Digital Shaman Project proposes a new mode of mourning in keeping with the technical advances of today. A 3D-printed mask of the deceased’s face is placed on a domestic robot installed with a motion program that mimics the physical characteristics―personality, speech, gestures―of that individual as if possessed by their spirit. The program functions for 49 days after the person’s death—according to Buddhist belief, it takes 49 days for a deceased person to enter the next life— during which time family members can experience simulated conversation with the deceased as if he or she were still alive. On the 49th day, the robot bids farewell to the bereaved and the program shuts down. The program is thus designed to allow the bereaved to spend 49 days with a robot seemingly possessed, like a medium, by the deceased. The creator says that she developed the concept after her grandmother’s death, when she personally experienced the function that a funeral serves as a mourning ritual for those left behind.
電磁腦神教
Electromagnetic Brainology
這件作品是作者在開發完善一個龐大的關於宗教，醫療，腦科學方面的作品的一個環節，關於這 方面的探討，我從​2010年的《震顫麻痹計劃》2011年《忿怒金剛核》2015年《陸揚妄想曼陀 羅》2016年《陸揚妄想罪與罰》到2017年《電磁腦神教》以及2018年新作《電磁腦神教-腦制御 士》​以及未來的作品中作為一個長期思考探索研究的計劃，任何一件作品都是獨立但又和其他作 品有持續關聯的。 

遠古人類看到有人在天上飛，就尊為神通，天神，而現代科技手段下似乎人人都可以借助科技在 天上飛，瞬間移動，遙視，等等，似乎那些超乎常人的超能力並不能代表宗教。宗教和真理信仰 是不同的存在，也許所謂的神通就是科技而已。

​The​ ​artwork​ ​is​ ​a​ ​part​ ​of​ ​the​ ​artist​ ​developing​ ​a​ ​large​ ​project​ ​of​ ​religion,​ ​medicalogy,​ ​and neuroscience.​ ​The​ ​artist​ ​has​ ​been​ ​exploring​ ​on​ ​the​ ​topic​ ​with​ ​​Krafttremor​ ​-​ ​Parkinson's​ ​disease orchestra​ ​(2010),​ ​Wrathful​ ​King​ ​Kong​ ​Core​ ​(2011),​ ​LuYang​ ​Delusional​ ​Mandala​ ​(2015),​ ​LuYang Delusional​ ​Crime​ ​and​ ​Punishment​ ​(2016),​ ​Electromagnetic​ ​Brainology​ ​(2017),​ ​and​ ​the upcoming​ ​work​ ​Electromagnetic​ ​Brainology​ ​-​ ​[xxx]​ ​(2018)​.​ ​Each​ ​work​ ​is​ ​independent​ ​while related​ ​to​ ​the​ ​other​ ​works. 
  
The​ ​ancient​ ​people​ ​addressed​ ​the​ ​man​ ​flying​ ​in​ ​the​ ​sky​ ​as​ ​god​ ​or​ ​deity,​ ​while​ ​everyone​ ​seems to​ ​gain​ ​the​ ​ability​ ​of​ ​flight,​ ​teleportation,​ ​and​ ​clairvoyance​ ​with​ ​modern​ ​technology.​ ​Perhaps​ ​the superpowers​ ​cannot​ ​represent​ ​religion.​ ​Religion​ ​and​ ​the​ ​faith​ ​in​ ​truth​ ​are​ ​different,​ ​perhaps​ ​the superhuman​ ​ability​ ​is​ ​but​ ​technology.