艺术家和科学家有极相似的地方，为了解决某个问题，艺术家和科学家都充满好奇地会观察世界，他们都试图寻找新的方法来表现新的观念或通过思想进行实验。对科学家而言，解决问题意味着通往发明、发现或者真理；对艺术家而言则是在批评性的问题上进行争论，揭示一种具有魅力的感觉或是某种神秘的玄学及宗教的统一体，亦或是提供新的审美性质（往往是起到艺术媒介的核心作用），有知觉的经历才能被认为是一种优先。  
　　科学家与艺术家的合作在当下很常见，这也证明了后现代主义世界观推广下的多元化倾向。但就其态度而言，他们二者都以探索的眼光来看世界，用观察力和想象力来寻找答案。有时候，艺术家寻找答案的过程正是与其自身的生命体验相契合的过程，二者只有达到一种禅宗式的情境才能完成答案，有时候甚至说不清灵魂与肉体哪一个更为重要！
　　艺术家对生命本原的探求从未停止过，艾斯君威尔1895年的言论告诉了人们艺术家为什么对生命本原特别感兴趣，我们常常忽略生命也是一种材料，是实实在在的东西，可以改变形状，是一种可以修改的东西，科学促进了我们对生命的了解，而艺术可以把生命和科学结合在一起！   
　　从20世纪80年代，艺术家就在生物科学领域寻找艺术表达的可能性。艺术家也使用生物的图象科技以及一些不明显的基因及组织工程来表达，这种艺术就是以生物学来提出一些最重要的问题为基础。这种艺术跟人们现在很有关系，因为它提出了我们当下现代艺术家最感兴趣的问题——生命！换句话说我艺术的价值也正是体现生命本原。而且，我所创造的昆虫世界观里所需要的技术支撑是由20世纪人类的基因工程、微距观察装置的扩展、纳米技术、生物艺术形态以及生物学等各方面的发展才得以完善和形成的。可以说我的艺术是一种新鲜的艺术、发展的艺术，就像一个健康的生命体！（注：90年代的生物艺术也被称为生物科学艺术或叫做跨基因艺术）
　　当然，对于我来说尽管其艺术价值是反映生命本原问题，但更重要的是观众怎样看这些作品。因为现在几乎所有的艺术效应都是通过作品与观众产生互动之后，利用所产生的作用来完成整体艺术传达的过程。在这一点上对于科学家来说，要他不去解释是困难的。就像一位著名的现代艺术家维奥拉说过：艺术并不是要表现你看到的世界，而是要表现你看不到的世界，要把你看不到的世界带入你的视觉范围内。我的昆虫世界所展现的也正是如此，也就是说找到那些被人忽视的现实的证据——找到在日常生活中最有诗意的部分，甚至是以科学的观察方法以及收集的相关资料开始即兴工作。这是我发现世界中所蕴涵神秘力量所在——道是无所不在的。
　　George khu 对感应和动作与艺术的联系很感兴趣。他最近的作品就用到了生物反馈技术。从2002年开始，George khu凭借同一时间发生的互动来创作作品时，还尝试着了解人与电脑之间的关系以及这些经验带给人们的变化，与其同时尝试了解观众是如何跟这些作品互动的，然后再看这种互动带来怎样的经验、情绪。我昆虫世界中你将感受到“它”！这是我所要传达给观众的主要精神实质所在，在过去的艺术史中，以人为中心的哲学宗教范畴的一元思想指挥着几乎人类所有的行为。在当今后工业时代，这一思想的弊端也已初见端倪，整个地球都存在着温室效应，生态环境的恶化以及最重要的世界性问题：生态平衡。作为这世界的一分子，人类对自己星球的破坏是目前最大的一个问题，因为破坏造成的损坏无法弥补。一位艺术家在澳大利亚解剖是搁浅的一头深海鲸后发现鲸的肚子里都是塑料袋，而鲸生活在距离海岸很远的地方，竟被人类丢弃的塑料袋所迫害？
　　现在，几乎每个人都希望自己的财富迅速增长，作为食物链中的一个消费者，人的生存方式几乎让自己忘记了这样的方式会带来巨大的破坏以及伤害，虽然科学满足了人类的需求，可是它并没有改变人类的需求！我真心地希望我所创造的昆虫世界可以给人类自身提供一种警示。而我所要指出的是，人类应从新审视本我的所在（本心所指决定本我）。所以人类在地球上的真实位置究竟何在？？这的确是一个比较沉重的话题。在我的昆虫世界观里所显现的是一个平等与尊重的世界——艺术宗旨——昆虫与人类本身都是宇宙本体下的生命原体，就像庄子说：以道观之,物无贵贱。在我的昆虫世界里，人在看虫子，而虫儿此刻也在观察着人类，犹如一个灵魂的通道！
　　这个道理正像托马斯所说：任何一个关于人类的观点，如果以第一人称、第二人称的方式来看的话都是错误的。如果我们以第一人称的眼光来看一个身体的话，这个身体就像一个玩偶，他可以被外界影响所改变；当我们看到另一个人，我们只看到一个身体和外形，和我们看到一个雕塑一样。所以，当我们从内部看一个人的时候，我们才会注意到一些外表看不到的东西，比如他的情感和他的目的等。这是一个完整的存在方式。假如说你在看我的昆虫世界，并且你也是这样一种态度（观念），你就能从中体会到自己的本我所在，这是就我所体现的艺术目标！
　　禅宗里也说：微观即宏观，宏观即微观。如果从外围的角度来说，人就是虫子，虫子就是人。我的昆虫世界正是传达了这样的信息，这也构成了我艺术的骨架。作为一个中国人，我骨子里的情感是含蓄的，就像流动的水，无论外面的世界变化多快，我的本心是不会变的。
　　我的作品是“写”成的，这是长时间对东西方艺术思考的结果。从本心而言，我更取向东方，它们由心“写”出，展现的是深刻的思想以及艺术家内在自我的追求和自然流露。
　　我是一只在夜空中游离的飞虫，随着幻想回到亘古，回到那令人痴迷的故乡……

　　Liuyang’s Opinion on Art
　　There is a great similarity between artists and scientists, both of them observe this world out of curiosity with the purpose of solving certain problems. They try every means to find the new way to make their new concept clear or to do the experiment through thinking. As for the scientists, problem solving means invention or truth finding, while for the artists, it means argument on the critical things in order to reveal some kind of feeling full of enchantment, the combination of the mysterious metaphysics and religion, or to offer a new way of taste.
　　Nowadays, the cooperation between scientists and artists can be found everywhere, which may prove the tendency of diversity with the help of the viewpoint of postmodernism. But if we focus on the attitude, it’s quite easy to find the similarity: see things in the eye of exploring; find the answer with observing and imagining. Sometimes, the process of finding the key for the artists is the one of combining with their very life experience. Only if the two achieve the Zen thought, can the key be found. And sometimes it’s quite hard to tell which is more important? The soul? Or the body?
　　Artists never stop their exploring of the origin of life. 艾斯君威尔’s remark in 1895 told us why the artists have been showing great interests in it. We seldom regard life as the very material, the living thing, which can be changed and in various forms. Science helps us to know more about life, while art brings life and science together.
　　Artists have been looking for the possibility of telling bioscience in art since 1980s. Some used to try certain science and technology of biologic image, or inconspicuous gene engineering and tissue engineering, which can illustrate the art in basic biology, the very connected one with us, since it puts forward the issue with which the contemporary artists most concern: Life! In other words, the value of my art is to show the origin of life. Furthermore, the needed support of technique in the view point of insets relies to the genetic engineering in the 20th century, the development of the device of microspur, the nanotechnology, biologic art modality and biology itself. I would like to simply put my art as a kind of fresh and developing art, just like a healthy life! (The biologic art in 1990s can be named as bioscience art or cross-gene art.) 
　　To me, of course, though the value of the art is to show the origin of life, the most important thing is how the audience appreciates the works. Everybody knows that almost all the art effects first come out of the interaction between the works of art and the audience, and then convey the meaning in the process. This is quite hard for the scientists to stand by and explain nothing. There was a famous artist Viola once said, “The essence of art is to tell people the unseen world, not the world can be seen, bring the unseen world to your vision.” That’s exactly the thing in my works of insects. What I am trying to tell people is the evidence being ignored by them, and the poetic part in daily life. Sometime I get to work suddenly out of the scientific way of observing and the gathering materials. Then I find the world full of mystery: Taoism exists everywhere.
　　George khu has great interests in the relation among induction, action and art. The latest works of his cover the technique of biofeedback. He creates his works with the help of the immediate interaction; he tries to explore the relationship between mankind and computer, and the changes out of it. Meanwhile, he attempts to figure out the way the audience goes after the works, then moves on to examine the experience and feelings of the audience. You may find all this I had mentioned in my works of insects, the essence I attempt to convey to the audience. In the history of art, almost all the artists had been influenced by the unitary thought with the philosophy-centre and religion-centre, while this thought began to show its disadvantages in the post-industrial stage. Greenhouse effect can be found everywhere in the globe, eco-environment is getting worse and worse, the balance of the ecosystem has been threatened. We are all the citizens of this globe, if there is no actions taken, we have to pay the price very soon. There was once an Australian artist who anatomized a big neaped whale found lots of plastic bags in it. The very whale lived so far away from the seashore, how could it be killed by the throw-away plastic bags?
　　Nowadays, it seems that everybody wants to blossom his wealth. As a consumer in the food chain, the living style of mankind lets them ignore the damages they’ve done to the world. Though science may satisfy people’s needs, it couldn’t change them! I do hope the works of insects of mine can be an alarm to mankind. And what I want to point out is that we mankind should re-examine the existence of ego. Where is the real position of human beings? That’s a serious issue. Peace and respect can both be found in my works of insects, and the tenet of art as well, that is, insects and human beings are both the original form of this universe. Just as what Zhuangzi said: “Nothing is noble or humble if we see it with Taoism.” In my works, we mankind are looking at the insects while the insects are looking into us, just like the passage of a soul!
　　Just as what Thomas said, any viewpoint of mankind could be a wrong one if it went with the eyes of the first person or the second person. If we look at a body with the eyes of the first person, then it will be like a doll, which can be altered by the outside world; and if we look at a person, what we see is a figure, just as a sculpture. So only if we look into a person’s inner heart can we notice something we cannot see in the appearance, say, his emotion and his purpose. Suppose we are appreciating my works of insects, holding the same idea with mine, then you may understand the true you, and that will also serve my purpose!
　　Zen holds the view that microcosm is macrocosm, and vice versa. And the same is true of mankind and insects. This is what I want to tell in my works of insects and my framework of art as well. The inner me won’t be changed no matter how fast the changes will be in the outside world. Since there has been the implicative emotion just like the flowing water in me, a Chinese.
　　My works have been accomplished through “writing”; they are the outcome of the profound thought of eastern and western arts. It’s quite easy to find the east-oriented in them, telling the deep thinking and the natural pursuing of inner me.
　　I’m the night winged insect flying in the sky, backing to the fantastic old sod forever…

作者：刘阳