メインビジュアル

Ultrasubjective Space

2001

A Flattened Space that Dissolves the Boundary between the Physical World and the World of the Artwork

Lenses and Perspective Create a Boundary between the Artwork Space and the Body of the Viewer

When three-dimensional space is made two-dimensional by lenses or Western perspective, such as in paintings, photographs, and videos, the picture plane becomes a boundary, and the artwork space appears to exist on the other side of the picture plane. A boundary is created that divides the space where the viewer is physically located and the space of the artwork that is cut out and framed by the lens or perspective.

Ultrasubjective Space Does Not Form a Border and is Continuous with the Space Where the Viewer’s Body is Situated

Premodern East Asian paintings are said to be conceptual or planar, but teamLab believes that these paintings construct two-dimensional space using a different logical structure from those created by lenses or Western perspective. Furthermore, the surface of a two-dimensional image created using this logical structure does not create a border between the space where the viewer’s body is situated and the world of the painting (the artwork space). teamLab explored this logical spatial structure using new digital methods. Specifically, we created the artwork space in three dimensions on a computer, then looked for a logical structure that converted it into two dimensions, such that it looked like the picture space of a premodern East Asian painting. In other words, we looked for a logical construct that could render the space in two dimensions without creating a boundary between the world in which the viewer’s body is located and the space represented by the surface of the artwork. We called this logical construct “ultrasubjective space.” The surface created by ultrasubjective space does not become a boundary, and it is continuous with the space in which the viewer’s body is present. Furthermore, we discovered that with ultrasubjective space, we can freely move the viewpoint, the plane does not have a center, and it can be folded, divided, or joined, unlike a space rendered in two dimensions by Western perspective.

Ultrasubjective Space Frees and Centers the Viewer’s Body

In ultrasubjective space, the viewpoint can be moved. With space created by a lens or perspective, the viewer's body is fixed. But with ultrasubjective space, the viewer regains the freedom to move their body. The viewer can comprehend the world through their body as they move. In ultrasubjective space, there is no center, and the space can be divided, which means that the viewer can look at the entire picture plane and see the full space of the work, or they can look at only a part of the plane and see only that part of the artwork space. This means that multiple viewers can freely view the same plane of the work from different positions, centering themselves, and enter a part of the artwork space. Additionally, the ability to join planes created using ultrasubjective space means that the boundaries between works can be eliminated: different artwork spaces can join together on a single plane, and new artwork spaces can be created. The fact that ultrasubjective space can be folded gives freedom to adapt and change the exhibition space of the artworks (Fig. 1 and 2).
[Figure 1] (left): A three dimensional space flattened using Western perspective (from the artwork Flower and Corpse Glitch Set of 12).
[Figure 2] (right): The same three-dimensional space as in Figure 1, but flattened using the logical structure of ultrasubjective space (from the artwork Flower and Corpse Glitch Set of 12)

Mov. 1:Finished painting (from “Flower and Corpse Animation Diorama”)

Seeing the World as in a Premodern East Asian Painting

A simplified version of a photograph taken through a lens, or an image drawn in Western perspective (Fig. 3) is a fan-shaped space spanning out from the photographer or painter’s viewpoint (blue person in Fig. 4), and that space is made two-dimensional (Fig. 4). The viewer is then seeing the world from the perspective of the painter. Now, assuming that people were able to see the world as in the premodern paintings of East Asia (Fig. 5), and assuming that the painter is the blue person in Fig. 6, the light blue part of Fig. 6 would become visible. You may think that it is impossible to see the world in this way, but the range of what the physical eye can see at any given moment is extremely narrow, and the focus is shallower than you think it to be. So why do we think we can see more than we can in reality? Humans have a time axis, and we can move our eyeballs, thereby moving the focus of our eyes. The brain synthesizes the many images obtained through this narrow and shallow focus in order to perceive the space. In other words, it could be said that we see space by logically reconstructing sets of narrow, shallow, two-dimensional images of parts of the space going back to some time in the past. The space that we perceive with our bodies is a reconstruction of a set of parts that are much larger than the parts that we perceive when we capture the whole space with a lens. And it is in such sequences that the notion of time is contained. Today, humans constantly see the world as it is captured and framed by lenses, such as in photographs and movies, so they may not find the plane rendered in two dimensions through a lens awkward. However, humans move their heads and move about in space. Although the amount of time may increase to synthesize and reconstruct the image, if we think that we synthesize it in our brains using a logical structure different from that of lenses and perspective, it would not be surprising that we perceive the world as shown in Fig. 6.
[Figure 3] Mona Lisa © RMN-Grand Palais (Musée du Louvre) / Michel Urtado / distributed by AMF-DNPartcom [ Figure 4 ] [ Figure 5 ] Honensho picture scroll [ Figure 6 ]

Enter into the Picture While Viewing It

If you (Fig. 7, blue human figure) look at a person captured in a perspective picture or photo (Fig. 7, red human figure), you will see the world of the artwork as something separated from you, as though you are looking through a window (Fig. 7, light blue area). Likewise, the person in the artwork would see the real physical space where you are as an external viewer (Fig. 7, pink area). But if you and the person in the painting saw the world as shown in Fig. 8, as the world is shown in premodern East Asian paintings, the character in the artwork (Fig. 9, red human figure) would see the pink area in Fig. 9. While you (Fig. 9, blue human figure) would see the light blue area. In other words, the character inside the painting perceives almost the same landscape as you, a person outside of the painting (Fig. 9, overlapping pink and light blue areas). You would continue to view the landscape in the painting even if you stepped into the painted character's shoes. While viewing the painting you can enter and move around freely within the world of the artwork. The viewer does not hold a dominant perspective over the depicted space, and they are instead merged into the experience.
[ Figure 7 ] [ Figure 8 ] [ Figure 9 ]

Viewer Centricity

Suppose you take a series of photos of an object up close with a camera, and then stitch these images together to form a whole picture (Fig. 10). The result will differ completely from a single photograph of the whole object taken at a distance (Fig. 11). In Western linear perspective or through a lens, a composition of multiple planes in which the object space is partially captured from a close series of points (Fig. 10), cannot be the same as a wide shot in which the object is captured as a whole in two dimensions (Fig. 11). In the case of ultrasubjective space, a plane composed of multiple detailed planes (Fig. 12) is logically the same as a plane depicting the entire space (Fig. 13). The plane consisting of combined parts of the space — each shown in detail — is equivalent to the plane where the entire space is depicted. This means that viewer centricity is possible. When you view a painting from a position where it can be seen in its entirety, you can imagine yourself inside the space represented in the painting. Step closer to the painting so that you can see only one part of it, and you visually enter only that part of the space represented in the painting (Fig. 12). You can see the picture freely from anywhere. There is no limit to the viewpoint, which can move (Fig. 13). Traditional Japanese picture scrolls, emaki, and screen paintings, fusuma, are created with this in mind. Scroll paintings are placed on a table and their separate scenes are viewed by unrolling the scroll with the left hand. You look, in other words, at the individual parts of a larger whole. Fusuma screen paintings are also painted with the understanding that the individual screens will slide and can be moved.
[Figure 10] A plane that is pieced together from smaller planes, with each representing a part of the space in perspective [Figure 11] A plane that recognizes the entire space in perspective [Figure 12] A plane that is pieced together from multiple, finely detailed planes that each represent a part of the space in ultrasubjective space [Figure 13] A plane that recognizes the entire space in ultrasubjective space

Fold, Divide, or Join

A plane of ultrasubjective space can be freely divided, and seeing a divided part of a picture means being in a space that the portion represents. Since a picture plane of ultrasubjective space can be divided in this way, it can also be folded. While it is impossible to fold or divide a photograph or a perspective painting. Fusuma sliding door panels are a canvas that is able to be divided, and byobu screens are a canvas that is designed to be folded. The fact that the plane in which the parts of a space that have been made two-dimensional in ultrasubjective space are, when joined together, equivalent to the plane of the entire space, means that the planes of ultrasubjective space can be freely joined together. This means that different artwork spaces can be unified on one picture plane, and a new artwork space can be created without spatial discrepancy. Separate, individual artwork spaces can together become a new, borderless artwork space.

No Boundary between Viewer and World in Ultrasubjective Space

The way people see the world has a great impact on the way they behave towards the world. Since people today are constantly looking at the world as cut out by lenses, such as in photographs and videos, they see the world as though looking through a lens. In doing so, their body and the space they are looking at become completely separated, creating a clear boundary. This causes people to feel as if they are able to exist independently of the world. However, If we see the world through ultrasubjective space, the boundary between the body and the world disappears, and the two existences become a single, seamless entity. It enables us to recognize ourselves and the world as a borderless continuity.

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Publiziert in International Symposium of Seoul Art Space GEUMCHEON, (Oct 2011)

An information society, Technology, Design, Art, Culture, and Industry 

 Before the information age, technology, design and art were clearly divided areas. However, the border has become blurred within the digital domain. For example, if we look at the interface of an I phone, it is difficult to define which parts are programming and which are the designer’s work. It turns out that both technology and design are concerned with the processing and relaying of information. Before digitalization it was necessary to have a physical substance for information to be transmitted through design or art. The situation changed with the digital age when information was released from the confines of having to be mediated through a physical substance, which in-turn necessitated the boundaries of design, art and technology.  In the information society people tend to become expert in one particular field and therefore it has become harder to create art on an individual basis, this is why TEAMLAB utilizes the skills of a group of artists and technicians. [1] Competitive superiority = Region highly dependent on culture In informational society, another change has been taking place. The common speed which is verbalized domain becomes too fast. Therefore the region is no more the necessary condition in order to have an advantage in the competition. Before the information society, in case of iron-making technology, technological gap is caused by the country. But the technological gap has been reduced IT can logicalize and verbalize.  However in domain where is highly depending on culture, can not explain verbally; for example, in domain such as “Cool, nice, interesting”. This methodology is difficult to share. We think that really is where the advantage of developed countries. The differences are much more in region where heavily dependent on culture. As a result, it leads to competitive force.  In other word, we believe that the industry which rebuilds the region highly depended on culture with technology, and the developed countries with social infrastructure can get by in the world. In the informational society, a change has been taking place. The speed at which the verbalized world can be shared has increased so dramatically that competition for a particular geopgraphical area is no longer an advantage. Before the information society, in the case of iron-making technology, a technological gap was caused by the country. But the technological gap has been reduced by IT’s ability to logicalize and verbalize.[2]Japanese Culture and Japanese Spatial Recognition So what is Japanese culture? What is behind Japanese culture? How do we grasp culture? How do we take in, understand and see the world? At TEAMLAB we believe that we may be able to find answers to some of these questions through making art and through the creative process.  Before the introduction of Western culture, the late Edo period (late 19th Century), Japan was a closed country to foreign commerce. During that time it is possible that people had a different way of seeing the world. Japanese painting lacked Western Perspective, and because of this it is often said that Japanese painting is flat. However, we propose that Japanese ancestors saw the world exactly as it is depicted in a classic Japanese print. When they looked at a Japanese painting they were able to see or feel the space in the painting, just as we see space and depth information in a modern day photograph. Considering this we at TEAMLAB began to wonder if Japanese didn’t have a different logic of space recognition to Western perspective.TEAMLAB video production  TEAMLAB has made a number of video works that attempt to recreate the recognition of space of our Japanese ancestors’ in 3 dimensions. We hope that in the process we may be able to discover a new mode of expression.  Example; the installation movie 100 YEARS SEA -Animation Diorama- [3] This work was created in a three dimensional computer space and the motion of the waves was computer generated.  Then we converted the animation so that it could be visualized inline with our ideas concerning Japanese spatial recognition – the hypothesis that, Japanese painting was founded on a different logic of spatial awareness to that of perspective. Producing video works using Japanese spatial awareness has advantages over perspective [4]. For example, the middle of a movie theater is often considered the best place to view the movie, the visual experience becoming impaired with distance from the screen. However, using Japanese spatial awareness, there is no focal point and there is no need to identify with the location of the viewers. Therefore, the viewers can freely walk around the exhibition space.  In addition it is not necessary to use a flat surface on which to project the image. In the case of the installation of “100 Years Sea”, the work was exhibited on screens that were at 90 degrees to each other without damaging the installation experience. Perhaps this can be understood in relation to the tradition of painting on Japanese folding screens. The work, ”Life survives by the power of life” [5] was exhibited as part of  TEAMLAB’s “Live!” exhibition at Takashi Murakami’s Kaikai Kiki Gallery in Taipei in April of 2011, at the 54th “Future Pass” Venice Biennale, Hong Kong’s art fair “ART HK”, and “VOLTA” Basel, Switzerland. This work also uses the concept of Japanese spatial recognition. When shown as a still image the work appears flat, just as a Japanese print, but during playback it appears to occupy a 3 dimensional space.Japanese Subjective Space Description which supports “Narikiri” (Entering a Picture, or Visualizing a Picture from inside it) Western perspective is drawn from the view point of the artist and recognition of space can be thought of as fan-like. If you were to try to see the view as if you were in the picture, narikiri, then what you see would change. (In the case of a portrait painting the person in the picture would look back at the artist or viewer / figure A)  However, the concept of the observing point in Yamato-e (Japanese painting) is weak, and the grasp of space is very different from that of perspective. If I draw a picture from the observation point of the person who is depicted in a Japanese painting, then the recognition of the space would almost be the same. [6] As mentioned above let’s assume that you are able to see the world as an ancient Japanese saw and recognized the world, as in Japanese paintings, and that you enter into a yamato-e picture. Unlike with a perspective painting the picture doesn’t change. Even though you become the character in the picture while viewing the picture, you can still keep watching it (Figure B). In the video game “Dragon Quest”, the players enter into the character whilst watching and playing the game. It gives them enjoyment because they enter into the world of the character and experience the picture the world of Dragon Quest as if they were in it. That is the spatial representation of “Dragon Quest (Figure C) [7]. However, as mentioned above, with Western perspective a person cannot enter the picture in the same way. Therefore the player of the game only sees details like the hand, handle, and cockpit of the airplane. Japanese spatial recognition supports the notion of “pretend” and its recognition is highly subjective. This subjective awareness goes together well with the information society.We believe that in the future when new industries emerge, if the industry and culture fit together well, then the strengths of the culture will be preserved for the benefit of the whole world. [1] We at TEAMLAB create teams of specialist among various fields who are able to transcend the boundaries of their own field of research. We attach importance to utilizing the discoveries that are made during the creative process for future projects.[2] We are Japanese and the topic is based on Japan, but it might share something in common with South East Asia.[3] 100 YEARS SEA -Animation Diorama- TEAMLAB, 2009, Animation Installation, 10min 00sec(19m 200mm × 2m 400mm) & 100 years(16:9 × 5) *2 versions, sound: Hideaki Takahashi[4] There are also disadvantages. Objective and physical size information is lost.[5] Life survives by the power of life[6] Some people would consider this idea ridiculous. However, perspective is also unnatural. The focus of the human eye is very narrow. The human eye does not clearly see detail like that of photographs and paintings of the Mona Lisa. The eye moves rapidly and the focus changes along the timeline. Information is synthesized along a narrow and shallow range of focus in the brain; the image just looks like a picture in perspective. That eye continuously takes thousands of photographs and synthesizes large numbers of pictures with a certain law in the brain to recognize the spatial perspective.[7] The method of expression of Japanese art fits well with game contents in which the main character is manipulated interactively. We believe that the Japanese game industry achieved much success due to utilizing the strengths of Japanese art representation.

Publiziert in STUDIO VOICE , (Jul, 2012)

“生命即生命力的展现”-- 威尼斯双年展(Venice Biennale)参展作品 ---- 猪子寿之(teamLab)访谈录

Teamlab的视频作品“生命即生命力的展现”(下文“生命”)原为台湾的初次独展所作,后作为为数不多的日本人作品在2011年6月开始的威尼斯双年展上展出,直至11月27日结束。该作品在卫星展馆“Future Pass – From Asia to the World”(未来之路-从亚洲到全球)内,与由村上隆执印的KaiKai KiKi作品同时展出。从“生”字起笔,立体展现了草木发芽,生命出现,季节轮回的整个生生不息的生命历程。6月4日威尼斯双年展的记者预展会第三天结束时,我就该作品的诞生背景以及作品的内涵采访了刚忙完展示布置和招待会的Teamlab社长猪子先生。"初演参展"的缘由—-台北有个Kaikai Kiki的个人艺术展,今年可以说是Teamlab的艺术展之年,能谈谈参加商业展的缘由么?猪子 今春之际,Pixiv的片桐孝宪先生引荐了村上隆先生来我们公司,当时给他看了这部视频作品,村上先生赞到“这还挺不错的.” ,于是我们就觉得应该能直接参加台北的Kaikai Kiki展出。如果不介意的话,请把村上先生就这件事发表在PUBLIC-IMAGE.ORG上的文字 也引用一下吧(笑)。直到那个时候,我们都没意识到Teamlab的视频作品还可以卖,因为我们一直以来都是以技术人员场内指导设置和维护为前提的。比如“百年海图卷”这个作品需要多台投影仪合作。上映时间为“100年”,因此工程师们不得不连接电脑来操作。而新作品“生命(2011)”则是首次将其作为创作者所拥有的艺术作品。这回的威尼斯是第三站,台北,香港,威尼斯,之后还要去瑞士的艺术芭莎(Art Basel)展出。现在我们收到的邀请是源源不断。“百年海图卷”展现地球的海面上升过程的日本画风格动画视频作品。有两个版本,一为浓缩的10分钟版本,二为实际的100年进程的版本。—-以往Teamlab的视频作品主要是将日本画用3D动画表现出来,这回使用书法来表现的契机是什么呢?猪子  大前提是想让买家可以自娱自乐,因此要去除技术的壁垒,将其创作成普通鉴赏物。所以这幅作品的前提即,既要适用于16:9的投影仪,也要可以在电视机上播映。本来我们有创作过一些 “书法作品.” ,但是我们觉得在亚洲文化圈内没法透彻的展现这个。说到日本文化,其实并不是很清晰的区分美术和文学,还有画卷和漫画等等,而通常都是带插图的文化。卷轴等是肯定有插图的。西方文字可以说是追求客观上的文字美,而书法则是需要了解谁在什么样的背景下写了什么内容的一种鉴赏性质的文化。书法家这个概念也是在近代之后才出现的。比如历史上有弘法太子投笔作书这样的故事。文字的作用是引起其他人的共鸣,本来是客观的载体,但日本人从一开始就将其作为主观个人思想的一种表达方式。我觉得这个挺有趣的。日本人打心底里认为完全客观的正义也好,善恶也好,这种绝对的东西是不存在的,更没有好莱坞式的那种绝对的大恶。而书法就是受其背景所影响,规则较缓和的一种形式,由于它反映的是写作书法的人的精神世界,这个很有趣。这和现在有些人手机里没表情图标就没法发邮件一样,比如说“等着呢♡”和“等着呢(ToT)”,同样的文字但意思就不一样了。当然西方人反而可能不怎么用了(笑)。本来文字是客观的东西,但是日本人就会想加入些主观的东西进去。书法数码化的念想—-那么请谈谈这回用“生”字的主意吧。猪子 我没仔细问过书法家紫舟先生,我自己的感觉是,女朋友觉得我的生活方式欠妥,希望我有 “顽强的生命力” 这种意思含在里面。 “生”生字里面有个点,日本象棋里也有“王字加点则成玉”的说法,我认为是加上去变得更强的含义。最初看到那个字时,大家很单纯的就觉得还不错吧,Teamlab公司本身也有一种要奋斗生存下去的氛围。村上先生发出邀请的时候说,没时间了就用过去的作品吧,但我们还是想创作个新作品出来。当时大家集思广益的时候,书法就是最先被提出来的一个主题。“生命即生命力的展现”(2011)立体的 "生", 字辗转反复,演变成生机勃勃的四季。—-有考虑过与其他三部视频作品“花与尸”“百年海卷图”“黑暗中的生命之光”猪子 本次展出的作品中,首先是“百年海卷图”中历经100年的沧桑,在10分钟内表现出来的波澜壮阔。然后是两部新作品——表现文明和自然冲突的“花与尸”,最后是“生命”这个书法作品。说起来也很偶然,我觉得和这回的日本地震以及海啸有点儿因果关系的意味。实际上,因为地震原本在台北的独展延期了一周,当时俯瞰已完成的会场布置时,就有这种感觉了。—-虽然是书法作品,但是将文字做立体旋转,用3D去表现的意味是什么呢?猪子 大约10年前我去台北,当时最新的设计酒店室内装潢就是用的书法。我很懊恼。同样具有汉字和书法,说日本不知者无过也好,说日本丧失了这样的文化也好,日本人就没有想到这一点。这让我有了要在书法中融入现代感的想法,于是这回应用到设计中,感觉挺酷的。这并不是由于现如今纸媒已经过度到数字媒体的原因,我们一直以来就想要将书法数码化,并追求酷炫的表现方式。书法是文学,是一种象形文字和图标。本来是在木石之上雕刻之物,连深浅都是有含义的。因此很适合用立体方式去展现。文字旋转之际,运笔的轨迹以及力道的增减便被生动的表现出来了。不管怎么说,我们是想让观赏者体会到“书法也很酷.”。日本人原本是信息至上主义—-关于这回的威尼斯展出,村上隆先生在Tweeter上写道’只不过是没啥力道的表现混沌未来的创造作品,不给力的东西还是省省吧“,这该如何解释呢?猪子 我的私见是,这回以中国和台湾为首有不少亚洲人的作品参展,他的意思是’ 与西方文化不一样,东亚文化中高质量的作品是能够完胜西洋作品的。但是,把如此温和的作品带去威尼斯展出,比起西洋文化来,东亚的文化就略输一筹了。 “我们用数码形式发布作品,并不是说日本人本来就是物质主义者,而是说日本人是信息主义者。历史上有“千利休待秀吉唯一朵喇叭花”的桥段,从那第二天就可能枯萎的一朵喇叭花身上,秀吉不是看到了价值并给予了支持么。信息至上主义是日本自古以来的观点。然而我比较反感说信息化社会中,日本已经落后了这种说法。比如说织田信长把大家都从土地中解放出来,不允许地主和土地所有者的存在,人人搬走后都把自家的房产和领地一把火焚毁。也就是说,不赞成固定的价值观,而是关注附加价值,把那些附着于物件和土地上的东西都统统消除掉。从而GDP翻了10倍,商人,木匠,冶金工匠纷纷登上舞台。从这个层面来说,正是想表现这样的信息化社会,我们选择了数码的表现方式。—-那么,你认为什么是艺术品的附加价值呢?猪子 极致的说来,是对未来的一些启发,新价值的提示,表现的提案等等。对未来的附加价值的启发什么的,也就是对新市场的启发啦。萝莉控概念的输出—-这回与Kaikai Kiki一起参加威尼斯双年展,有什么感想么?猪子 村上先生的人气不是吹的,那个时候在威尼斯路上走,别人听说我是日本人时都是以“do 认识村上隆么?” 作为开场白的。会场里谁都知道Kaikai Kiki,在海外的漫画书店里也是与火影忍者和海贼王齐名的。因此我觉得由于像村上先生这种人的存在,我们国家的知名度也提升了,确实很不错。大家都想和村上先生交朋友,有些不合理也没办法,找我和我们的员工吧(笑)。而且,比起“达米恩•赫斯特(Damien Hirst)很酷,故英国酷”来,“村上隆很酷,因此日本很酷.”更略胜一筹啦。—-这么说村上先生的表现方式有着更加浓烈的日本风格咯。猪子 没错。我们的最终目标是“爱屋及乌,爱Teamlab及日本”,那将是对日本产业的巨大贡献。比方说,村上隆比铃木一郎对产业的贡献就要大。因为铃木先生是在美国打比赛,而村上先生则是把日本的文化输出到海外。展馆内我们的员工与意大利老奶奶搭腔时,她说她儿子快30岁了一直痴迷于日本的色情同人志,非常苦恼的过来咨询我们。当时有Kaikai Kiki的“Mr.”作品展出,她好像问的是为什么日本人要用这种萝莉控的画法。这与平时她儿子藏在柜子里的色情同人志有着相似表现手法的艺术,让她开始认识到不应该否定儿子,而是尝试通过“Mr..”的画去理解她儿子,她说“说不定我可以理解并肯定我儿子.”。这样的话,老奶奶与她儿子可能都会更加喜欢日本的东西,肯定日本的文化的吧。听了这件事之后,我觉得“Mr.”的作品更棒了,我更加尊敬它了。那幅画使得人们在艺术场景中有真实的存在感。我们也想给日本产业做出这样的贡献。