teamLab Islands Dance! Art Museum and Learn & Play! Future Park | teamLab

تتعايش الفصول وتتغيّر تدريجيًا في فضاء العمل الفني الذي توجد فيه.وتزهر الأزهار بحسب الفصول، وتتغيّر الأماكن التي تنمو فيها تدريجيًا.
تبرعم الأزهار وتنمو وتزهر قبل أن تتبعثر بتلاتها وتتلاشى، ثمّ تعود وتكرّر دورة الحياة والموت إلى الأبد. وإن بقي الأشخاص ساكنين، فسوف تنمو الأزهار المحيطة بهم وتزهر أكثر من المعتاد، ولكن إن قاموا بلمسها أو الدوس عليها، فسوف تتساقط بتلاتها وتذبل وتموت في آنٍ. وفي بعض الأحيان تعبر الأزهار حدود الأعمال الأخرى، وتزهر في فضاءات أخرى، ولكن تتناثر بتلاتها أو تموت بسبب تأثير الأعمال الأخرى.
إن العمل الفني ليس صورة مسجّلة مسبقًا يتم عرضها من جديد؛ بل يتم إنشاؤه بواسطة برنامج حاسوبي يعرض العمل باستمرار في الوقت الفعلي. ويؤدي التفاعل بين الناس والفضاء الذي يوجد فيه العمل الفني إلى تغيير العمل الفني باستمرار، لذلك لا يمكن أبدًا إعادة عرض الأوضاع البصرية السابقة، ولن تتكرّر أبدًا. فالصورة التي تتجلّى في هذه اللحظة لا يمكن رؤيتها مرةً أخرى.
تزخر شبه جزيرة كونيساكي في فصل الربيع بأزهار الكرز في الجبال وأزهار الكانولا في سفوحها، وبعد زيارة هذه المنطقة تساءل تيم لاب عن عدد الأزهار التي زرعها الناس وتلك التي كانت موجودة في الأصل في تلك البيئة. لقد كان مكانًا يتسم بالصفاء والرضا. إن تجمع الأزهار الممتد هو نظام بيئي يتأثر بالتدخل البشري، والحدود بين عمل الطبيعة وعمل البشر غير واضحة. فبدلاً من أن تكون الطبيعة والبشر في صراع، فإن النظام البيئي الصحي هو النظام الذي يشمل البشر. وفي الماضي، أدرك الناس أنهم لا يستطيعون فهم الطبيعة في مجملها، وأنه من غير الممكن السيطرة عليها. وعاش الناس أكثر انسجامًا مع حكم الطبيعة، الأمر الذي ربما خلق بيئة طبيعية مريحة. ونحن نعتقد أن هذه الوديان تحمل آثارًا باهتة لهذه العلاقة السابقة للتعايش مع الطبيعة، والتي كانت موجودة في الماضي، ونأمل أن نستكشف شكلًا من أشكال التدخل البشري القائم على فرضية عدم إمكانية السيطرة على الطبيعة.

Itō Jakuchū (1716–1800) was an early modern Japanese painter who was active in Kyoto in the mid-Edo period. Jakuchū has left us with a unique style of painting in which the surface is made up of a grid of tens of thousands of squares that are individually colored. This work was inspired by the screen paintings Birds, Animals, and Flowering Plants and Trees, Flowers, Birds and Animals.
Jakuchū’s square paintings remind us of computer-generated pixel art. It has been proposed that Jakuchū’s squares pictures were inspired by industrial production constraints in the designs of Nishijin (traditional high-quality silk fabric that is woven in Nishijin, Kyoto). Pixel art was also born from functional limitations. Those functional limitations no longer exist but pixel art is still a very popular form of expression. This is perhaps why we feel an intuitive digital sense to Jakuchū's square works. The colors of Jakuchū’s work are the result of the optical phenomena of visual mixing of color combinations within the squares. It appears as if Jakuchū understood optical mixing of colors at a time before Impressionism and Pointillism. 
This artwork was created in a virtual 3-D space in which 3-D animals move. The space was then converted into what teamLab calls ultrasubjective space. Then,  the color in the 3-D space is split by the color pattern of the squares. For example, if the pattern of a square is colored in red and blue, that part corresponds to purple in the three dimensional space. 
The squares of the screen are fixed while the space continues to move, and thus the color inside the squares is on a different time axis to the space. Seen as a whole from a distance, brilliantly shining  colors occur, and the world of plants and animals in the space will move at a slow time axis. When viewed up close, the colors divided by the finely drawn patterns of each square will change on a rapid time axis. Two time axes co-exist in this work.
In addition, parts of the image squares are filled in with the most frequent color in the squares, forming an abstract world. Furthermore, when a visitor stands in front of the work, the squares near them are similarly painted. The plants and animals move in space, but are abstracted by the fixed squares on-screen, creating a new visual expression through pixel art.

A digital installation in three dimensions on seven screens.

This artwork explores Japanese spatial awareness. It exists in a three-dimensional space that we call ultrasubjective space. The Japanese mythical bird Yatagarasu,* rendered in light, flies around the space leaving trails of light in its path, creating spatial calligraphy. As the crows chase and are chased by one another through the air, they turn into flowers and eventually scatter.

The Itano Circus is a unique technique pioneered by creator animator Ichiro Itano. In this technique, a screen is packed to capacity with swarms of flying missiles that are drawn in a completely distorted perspective. These distortions give the audience a stronger sense of dynamic movement and impact. Through ultra-high-speed camera work and staging that envelops the viewer’s perspective, this technique creates an overwhelmingly beautiful image.

In this digital artwork, an homage to the Itano Circus, teamLab has recreated this distortion of space formerly used in 2-D animation in a 3-D space. This is an exploration of 1) what sort of logical structure of perception constitutes this distortion of space pioneered by Japan’s animators, and 2) the hypothesis that this is in line with the continuous tradition of Japanese spatial perception. By recreating this distortion in a 3-D space, teamLab widens the perspectival viewpoint. This work is also an experiment in visual experience, as it divides the viewer’s perspective while deploying divided perspective into 3-D space.

*Yatagarasu, the three-legged crow, is a creature found in Japanese mythology. It is believed to represent the sun and the will of Heaven.

All the various fish drawn by everyone swim around in this aquarium.

Color in a fish on the paper provided, and see the picture you have drawn come to life, swimming out into the massive aquarium in front of you together with the fish drawn by other people. If you touch the swimming fish, they will swim away. You can also feed the fish by touching the food bags.

Sketch Town is a town that grows and evolves according to the pictures drawn by children.

After the 2-D drawings of the cars, buildings, UFOs, and spaceships are completed, they are scanned, become 3-D and enter a virtual 3-D townscape. Every component of the town has a role to play; for example, the fire trucks and cranes serve to protect the town. Children can interact with the final townscape by touching individual components to alter their behavior.

Create! Hopscotch for Geniuses is the digital version of the childhood game hopscotch. Participants are invited to create their own hopscotch course, consisting of projected circular, triangular, and square shapes. Each participant is able to determine the level of difficulty while making full use of his or her imaginative and creative skills. Different sound effects and beautiful images emerge as participants land on the same shape or color in succession.

هذه  طاولة يعيش فيها أقزام.
عندما تضع شيئًا، مثل يدك، فوق الطاولة، سيقفز الأقزام عليه. ووفقًا لشكل الأشياء التي تقوم بوضعها على الطاولة، سينزلق الأقزام أو يقفزون أو يتسلّقون. قم بوضع العديد من الأشياء على الطاولة وسيلعب الأقزام بكلّ سرور.