生命，已非昔日之意

主办：中央美术学院实验艺术与科技艺术学院

当生命不再只是自然赋予的既定存在，而逐渐成为可被观察、培养、操作与讨论的对象，艺术也被带入新的提问之中：我们该如何理解生命的边界？又该如何看待技术对身体、物种与伦理的重新塑造？

郝锐昌Hao Ruichang

I'd like to bring the discussion back to us humans - nobody knows exactly how our technology, such as brain-computer interfaces and biotechnology, will shape the future for us. What I want to ask you is, how do we view and transform such thoughts from an artistic perspective? That is, will the future people still be human?

我想把问题拉回我们人——今天我们的科技，比如脑机接口、生物科技会给人的未来改编成什么样子，谁都不清楚。我想问你的是，我们从如何艺术的角度观看和转化这样的思考，即未来的人还是人吗？

奥隆 · 卡茨Oron Catts

Technology development, this question is how we I mean from an artist perspective, how we will do human being.

从艺术家的视角来看，技术发展的问题在于，它将如何塑造人类。

It's a good question, you know. I started to work here with biology. Now we have Ai. I didn't really talk much about the fact that we we have this. We're in one of the most interesting times in. Where we think about life as technology, and we think about technology as life.

这是个好问题。我最初是学生物学的，现在却从事人工智能领域。我很少提及这一点。我们正处在一个非常有趣的时代。当我们视生命为技术，亦将技术看作生命。

So we allow our technology to now run out of control, and we have no control over Ai or soon. We're going to lose control. We treat Ai now, and many I'm sure that are using Ai Treat Ai as a companion and something which is closer to them than even their friends. They give it agency and sentiency in the world. At the very same time, we're trying to treat life as if it's a technology that we can control. I talk about it in terms of.

我们正放任技术失控，对人工智能的掌控力正在丧失，甚至即将荡然无存。如今许多人将AI视为伙伴，甚至比朋友更亲近的存在，赋予它行动力和感知世界的能力。与此同时，我们却试图将生命当作可控的技术来对待——这正是我在探讨的问题。

And Ii took.

我接受了。

Psycho pathologies of control. Now if there's anything history was teaching us, is that whatever we choose to do to other life forms in some stage we would do it to ourselves as well. So look at what we're doing to life, look at what technology is doing to us and you can start to think about where it might go. Now I have kids, I have to be, but I also have a piece of forest in Australia where I'm digging a big bunker.

历史告诉我们，无论我们选择对其他生命形式做什么，在某个阶段，我们也会对自己做同样的事。看看我们如何对待生命，看看科技如何对待我们，你就能开始思考这一切将走向何方。我有孩子，我必须考虑未来，为此我在澳大利亚买了一片森林，正在那里挖掘一个大型地堡。

郝锐昌 Hao Ruichang

You said we treat life as controllable technology and AI as a companion. That duality is the heart of my art. I don’t want to escape into a bunker; I want to create works that make people feel the weight of this duality— the beauty and the terror of a world where life and technology are intertwined.

你说我们把生命当作可控技术，把 AI 当作伙伴。这种二元性正是我艺术的核心。我不想逃进地堡；我想创作的作品，能让人们真切感知这种二元性的重量 —— 生命与技术交织的世界，既美好，又令人战栗。

奥隆·卡茨（Oron Catts）是国际生物艺术领域的重要艺术家、研究者、设计师与策展人。1996年，他发起了 Tissue Culture and Art Project；2000年，他共同创立了西澳大学生物艺术研究中心SymbioticA。其长期关注的是，在新的知识与技术条件下，“生命”概念及其感知方式所发生的变化。奥隆·卡茨曾在哈佛医学院担任研究员，并曾于斯坦福大学、英国皇家艺术学院、阿尔托大学等机构开展研究与教学，作品亦曾在纽约现代艺术博物馆（MoMA）等重要机构展出。