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Solitude in Pixels

Lu Yang's Digital Figuration of Corporeality

Pao-chen Tang

was Doku, a digital figure created by Lu Yang. Named after “ dokusho dokushi ” (meaning “one is born alone and dies alone”), the Japanese on-yomi pronunciation of the line “ dusheng dusi ” from the Chinese translation of the Larger Sukhavativyuha

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Avatar vs. Artist

Barbara Pollack

, albeit through the avatar, DOKU. Due to the pandemic and quarantine restrictions, the artist could not attend the opening at Jane Lombard Gallery of DOKU: Digital Alaya in June 2021. But DOKU could bypass pricey airline tickets, visa complications, and

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Lu Yang

Planetary Techno-Orientalism

Christophe Thouny

other non-corporeal forms to figure a planetary unconscious. To conclude, I will briefly discuss how LY in two recent works from 2021, DOKU—LuYang the Destroyer 4 and DOKU—HUMAN figures this planetary unconscious in the terms previously specified

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Lu Yang

An Artist in Transformation

Ari Heinrich, Livia Monnet, and Gabriel Remy-Handfield

. Individual pieces often feature Lu Yang's own face and body, as exemplified by the creation of multiple avatars in films like Delusional Mandala or the ongoing Doku series, as well as corporeal themes around sex and gender and science/medicine, as

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Cyclic Existence, Iteration, and Digital Transcendence

Lu Yang's Live Motion Capture Performances

Ashley Lee Wong

understand. The digital world allows for the creation and imagining of these worlds and reincarnated versions of the self, as presented in Lu Yang's work with Doku. Lu Yang's fascination with reincarnation and the afterlife first led the artist to create a

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Pushing the Boundaries

Curating LuYang, a Global Artist Embedded in Local Situatedness

Nora Gantert and Malte Lin-Kröger

comic genre. Further, LuYang's virtual alter ego Doku is an apt example of the inner Asian reference system that LuYang employs to visualize his art. In Japan and China, virtual stars like Luo Tianyi (China) or Hatsune Miku (Japan) are idols with

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Challenging Binaries in Posthuman Worlds

An Analysis of Lu Yang's The Great Adventure of Material World

Jori Snels

) rejects essentialist notions of sex and gender, and Gao Shiyu (2021) has studied subjectivity and embodiment in Doku × The 1975 ‘Playing on My Mind’ (2020) and Delusional World (2020). I will draw on Rosi Braidotti and Donna Haraway to show how The

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Aesthetics of Futurism

Lu Yang's Art and an Organological Redefinition of the Human in the Planetary Age

Hai Ren

, neuroscience, and technology. While the 2013 work Uterus Man deconstructs heterosexual gender norms, the 2020 work Doku x The 1975—Playing on My Mind produces a model of the “digital human” ( shuziren 数字人). Finally, the 2020 work Material World Knight

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People's Perceptions of the Impact of Climate Change and the Effect of a Community Development Project in Nigeria

Anselm Adodo and Monica Imoudu

and Osunbor 2018). Since 1960, Nigeria's climatic trends have shown an average rise in temperature of 0.21°C each decade, with the northern portions of the nation seeing a faster increase in temperature ( Doku and Phiri 2022 ). Drought-induced hunger

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Inner Unity and Regional Diversity in Unified Germany

Helga A. Welsh

Alternativen, ed. Raj Kollmorgen, Frank Thomas Koch, and Hans-Liudger Dienel (Wiesbaden, 2011), 107-165. 11 Analyse zur TV-Doku “Wer braucht den Osten?” Ostdeutschland in der Presse; available at https