Lu Yang Delusional Crime and Punishment (2016), continues the aritist's neuroscience-inflected investigations with two primordial questions concerning existence as points of departure: the origin of human life and the moral dialectics of crime and punishment. Part of her undertaking resembles a classic teleological composition: who-or what-created life? Why this particular physiological design that inflects our sometimes evil desires? To answer this perplexing dilemma, she creates a machine labeled “human creator” that manufactures a torso, a brain, and a fleshly body - all potential human candidates - and soundtracks it with a whimsical, bassy club Dark Trap music composed and produced by the internationally famed musician Gameface especially for LuYang Delusional Crime and Punishment. A dozen anthropomorphic dolls packed in boxes that read “GOD PRODUCTION” hang on the wall like commodities ready for consumption. The uncanniness and detachment of Lu’s chosen imagery simulate the cold randomness offered by biological science to questions concerning the meaning of existence. Meanwhile, the juxtaposition of metaphors for theological determinism with consumerist symbols smears the former’s seriousness. And yet without taking a personal stance on an answer, this nonsensical evocation of determinism strategically serves to address the absurdity of humanist belief in free will.
《陸揚妄想罪與罰》從人類起源和罪與罰的道德辨證關係這兩個宏大議題入手，結合神經科學經驗提出客觀的洞察和臆想。陸揚從目的論永恆的核心問題出發：什麼創造了生命？ 為何生命會被設計成如此的肉體構造？ 這樣的肉體構造與罪惡間的聯繫又如何解釋?在陸揚的臆想中，名為「人類創造者」的機器的在神秘氛圍音樂烘托下分別製造著神經軀幹、大腦和人形肉身這種種為人的可能， 特別要指出的是配樂由國際著名音樂人Dark Trap專門為陸揚的新作而創作， 並由Gameface製作。一個個貼著「上帝製造」標籤的人類彷彿商品般懸掛於牆上，跟隨音樂起舞。超然而冷峻的敘事語言既模擬了生物學的人生觀中所宣揚的隨機性， 又在神學宿命論的隱喻中註入當下消費社會的典型符號以消解其神聖，更在對種種決定論的臆想間影射了人本主義自由意識的荒誕。
