VISITORS TO Dataland, a new museum for AI arts in Los Angeles, step onto an escalator and descend into(下降进入；陷入) a tempest(暴风雨；风暴). Rain blows sideways across mirrored walls. Next, psychedelic(迷幻的) pink amoebas and green squiggly lines gyrate(旋转；摆动) across the walls and floor. It is hard to walk straight. Is this what it is like to be trapped inside a lava lamp(熔岩灯（一种装饰灯）)? Soon guests are enveloped(被包围；被笼罩) in the sounds of the rainforest, and fireflies flit(轻快地飞过) across the screens. “It’s a living sculpture(活的雕塑),” says Refik Anadol, a digital artist and the museum’s co-creator. He points to lines emanating from(从……发出) people’s feet. “That’s your data.”
来到洛杉矶新开的AI艺术博物馆Dataland，游客踏上扶梯，坠入一场风暴。雨点斜打在镜面墙上。接着，迷幻的粉色变形虫和绿色波浪线在墙壁和地板上旋转。很难走直线。这就像被困在熔岩灯里吗？很快，游客被雨林的声音包围，萤火虫在屏幕间飞舞。“这是一个活着的雕塑，”数字艺术家、博物馆联合创作者Refik Anadol说。他指着从人们脚下放射出的线条。“那是你的数据。”
Dataland is the creation of Mr Anadol and his wife, Efsun Erkilic, two Turkish artists. Mr Anadol is probably the most prominent and polarising(两极分化的；引起争议的) AI artist working today—regarded by some as avant-garde(先锋派；前卫的) and by others as spectacle-heavy(注重视觉奇观) and too commercial. (His works have appeared in the Museum of Modern Art in New York and the Sphere(拉斯维加斯球形场馆), a concert venue in Las Vegas.)
Dataland由Anadol先生及其妻子Efsun Erkilic（两位土耳其艺术家）共同创建。Anadol很可能是当今最著名且最具争议的AI艺术家——有人视其为先锋派，也有人认为其作品过于注重视觉奇观且太过商业化。（他的作品曾亮相纽约现代艺术博物馆和拉斯维加斯的演唱会场地Sphere。）
Dataland opened in a downtown development that Frank Gehry(弗兰克·盖里，著名建筑师), its architect, always hoped would become part of an arts district. Mr Anadol’s ambition is for the new museum to convince visitors that there is more to AI art than hype. He starts with the premise(前提；假设) that there is ethical(伦理的；道德的) and unethical data. The former is about “asking permission(请求许可)” and “getting licences” for art works’ data inputs, not training models on data irrespective of consent. “If a human and machine collaborate(合作；协作), it’s a new form of art,” says Mr Anadol.
Dataland开设在一个市区开发项目中，其建筑师Frank Gehry一直希望这里能成为艺术区的一部分。Anadol先生的目标是让新博物馆说服游客：AI艺术不止是炒作。他从一个前提出发：数据有伦理与非伦理之分。前者是为艺术作品的数据输入“请求许可”和“获得授权”，而非在未经同意的情况下训练模型。“如果人与机器合作，那就是一种新的艺术形式，”Anadol先生说。
