Publiziert in DFUN, (Mar 9, 2017)
TECHNOLOGY EVOLUTION OF SPACE
科技幻手 空間設計進化論
teamLabHanger
teamLab, 2010-, Interactive Hanger
teamLabHanger
teamLab, 2010-, Interactive Hanger
teamLabHanger is an interactive hanger. Items are linked via a sensor that is installed in the hanger and when a customer picks up the hanger coordinated images and videos, or an items design concept, features, explanation of materials etc, additional information is displayed on monitors in the store.
teamLab has created and managed a number of fashion and e-commerce projects. In In the world of fashion e-commerce, rather than one stand alone photo, coordinated photos overwhelming increase sales. Even the space of the store can be coordinated visually and through adding information an item can be shown to be more appealing.
Considering the concept, “New Value in Behaviour”, when you take something into your hand, the subconscious movement is the result of an action of wanting to know more about the item. The teamLabHanger acts as an interface that provides additional information as a result of this action.
In order make the action of taking an item by the hand more enjoyable, displays can provide not only item information but additional information and sound.
In the information society added product value belongs more in the digital domain than in the item itself. The product exists in the same reality as we do and it is necessary to have an interface between us and the digital network domain.
teamLab has created and managed a number of fashion and e-commerce projects. In In the world of fashion e-commerce, rather than one stand alone photo, coordinated photos overwhelming increase sales. Even the space of the store can be coordinated visually and through adding information an item can be shown to be more appealing.
Considering the concept, “New Value in Behaviour”, when you take something into your hand, the subconscious movement is the result of an action of wanting to know more about the item. The teamLabHanger acts as an interface that provides additional information as a result of this action.
In order make the action of taking an item by the hand more enjoyable, displays can provide not only item information but additional information and sound.
In the information society added product value belongs more in the digital domain than in the item itself. The product exists in the same reality as we do and it is necessary to have an interface between us and the digital network domain.
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Publiziert in TV Bros. , (Feb 29, 2012)
把世界电脑化 Ultra Technologist Group Team Lab执行董事•猪子寿之
2012年的现在，这个因特网等信息化社会很早之前就快速进的时代。以日新月异的速度不断地变化新貌的世界，数码技术的驱使下，用“有趣奇怪”的技术和品味打破了既存的概念的集团——Team Lab，执行董事猪子寿之。他现在在想什么？在尝试什么？虽说前几天刚刚迁移新办公地，但我认为应该将映入他眼帘的景色尽可能地分享给大家，所以我们来到东京•本乡对他进行了采访。 前篇Team Lab正把世界电脑化——并不是所有人都知道猪子先生，所以想要先请您做一下自我介绍。 我对自己也不是很了解。正经的说，自因特网的问世，数码领域也成了现在社会的主导。而我相信 “我在数码领域中，用‘技术’和‘创新’创造一个新的未来”，Team Lab以那2个方法论是否能创造出新的附加价值而进行着摸索。到20世纪为止的产业构造也发生变化，成为信息化社会的时代，竞争力快速衰退。与此同时，感觉上就是Team Lab再次作为竞争力的帮手，在数码领域运用“技术”和“创新”和世界对抗。——“正经的说”，能不能更简而易懂地说下呢？ 超简单地解释就是，“将世界电脑化”吧。——原来如此。去年年末地“NHK红白歌合战”中，操办日本人气组合“嵐”的舞台演出是最通俗易懂地具体例子吧。（＊详细请参照下页） 虽然说是“红白”，其实也就是给惯例的歌曲类节目导入数码技术，给其带来全新的体验。并将至今未接触过数码的世界的不管年长还是年少都能体验这股新潮。——也就是说“电脑化”的对象没有任何限制，凑巧那时是“红白”， 而且是“嵐”的意思吗？ 是的。也不是因为对数码感不感兴趣的问题，只是单纯的感动，什么都不用做，坐享其成，得到观众“厉害！”的评价。但是在意的是，导入数码技术，并不会对“嵐”的印象有负面影响。助长“嵐”现有的魅力，并想在此基础上，能够孕育出其附加价值。献身社会是为满足个人的欲望——“日本，不容忽视！能被世人这样评价的话”等，从猪子先生的发言来看，说是爱国心但有感觉又不是，日本这个词像是个个人喜好一样的感觉。是不是有什么理由吗？ 所谓自我的愉悦感，怎么想都与社会紧密相关。比如拿着护照就能到世界各地去，但从现实角度来看是很幸福的事。 就想到在这个世界上有的国家的国民想要去但不能去的事来看，持有日本护照，并不是自己的能力有多高，只能说是这个社会的功劳而已。——您这是在感谢日本这个国家吗？ 不是，并不是感谢。我只是想为了让自己的未来更充满乐趣，能够让社会更美好那该有多好，为了自己超自我欲望仅此而已。——是什么时候有了这种想法的呢？ 小学4、5年纪的时候，我是班上的班长。那个时候明明超活跃超快乐，突然间类似恐怖的政治一样的学校生活，完全丧失了乐趣。于是“算了，我还是把我的幸福寄托于社会吧”这样想着想着就发觉“只有献身于社会，才能满足自己的欲望。”——从成年到进入社会的现在，社会有朝朝好的方向进展吗？ 虽然一直都很努力，但我能确定的是社会正逐渐倒退。——为什么这么认为？ 我小时候所描绘的未来，总有什么让人雀跃。科学超厉害！机器人超酷！等等。而且，这样的未来最先能够体验的我认为就是日本。那时我认为日本就是未来的展台。谁能想到现在的日本，完全没有未来。对信息化社会也失去了期望。长大了，看到这样的社会蛮受打击的。——曾经的日本确实与众不同。 要说以前的日本，是非常宽容、自由的社会，但是到了90年代后半，逐渐变得不再宽容，不再自由。——是什么原因导致现在这种情况的呢？ 在国际化，吸收了类似于欧美的伦理观，并将其强化。本来，所谓西洋的欧美思想，和在产业革命以后的社会不是一般的匹配。但是却和信息化社会并不是那么融合。只是就美国来说，像西海岸那样据统计每12分钟就诞生一个，与正统的想法逐渐不相配的时候，就因为有这样的做统计的人也能顺利的登上产业的舞台。比如美国加州，已经法律体制已经完全改变。但是为什么日本要到20世纪还要将照搬不动地将欧美的思想延用到信息化社会呢。——最近什么强化游乐行业等限制及业务地合理化等的法律（風営法 風俗営業等の規制及び業務の適正化等に関する法律）而导致的也不是没有可能。 然后，各种的青少年保护育成条例（淫行条例）的成立，严管著作权之类。都是妨碍发展的事。接后篇 后篇科学的进步没有捷径—— Team Lab的工作，简单的说就是不仅可以是普通的商务经济模型，同时也可以是艺术作品。是不是有意识的从事这两方面工作的呢？ 本来就在Team Lab创业之时，已成为数码技术为中心的社会，所以决定将他们联系起来同时着手。考虑社会的根本的竞争力是什么？其实它的基本就是“技术”和“文化”。啊，这个和石油之类的地下资源国家就另当别论了。但是数码技术领域的文化不是很清楚，所以要么艺术也做起来。——“要么也做”说是这么说，真的做起来还是有困难的。 这么说来科学的进步难道没有捷径吗？从科学的开端来看，乍看之下爱因斯坦的一夜成名，但他自己却认为这是他成就的积累，仅仅只是上了一个台阶而已。只是，他的那一步正好改变了世界，所以看上去他是一夜成名的。文化也是如此，归根结底文化是在连续性的基础上成立的。于是，我们就一直想要解开文化的谜题，在那个连续性中，一直想要用数码技术做一些具有文化性的事。——所以您最初做的就是“若冲幻想”吗？ 是的。那是第一个具有艺术性的作品。电视的优越性正暴露理论性的破绽——这里稍微想改变一下话题，我们想听一下猪子先生对电视媒体界的高见。现今我们已无法阻止观众离开电视媒体，但是对于作为媒体的电视，猪子先生事如何看待的呢？ 现在还在看电视的人，应该是种习惯吧。但提到要改变习惯的话，还真有压力。这么说来，从最初开始网络就在身边，网络也就成为这一世代孩子的习惯，或许电视真的就不再需要了吧。——尽管现在还勉勉强强，有时候网络上的新闻成为电视的话题，有时网络名人会登上电视荧幕，但是不禁让人想到他在不久的将来可能销声匿迹，您觉得呢？ 90后孩子，不是已经有部分已经断绝电视了嘛。也就是说，除了习惯，电视在理论上而言，完全没有优越性。理论上不行的东西，必然走向衰退。——具有理论性的“普及的基础设施”的优越性也没有了吗？ 那正好现在还在普及中，占有是不可扭曲的优势。理论上不行的理由是，要说没有电视就就不能产生信息的说法，现在是已成过去。说什么电视只要花钱就能做出好的媒体信息什么都是骗人的，有趣还是无聊，因为都是靠人做出来，与成本构造几乎没有什么关系的领域。虽然本质上存在着如果没有钱，就没有办法让有名人登场的问题，但是并不存在理论性的问题。——那么现在就信息化社会而言，具有理论性的且占有优越地位的内容的例子有吗？ 例如，电影《阿凡达》，利用科技有着非常新颖的表现，超天才的电视节目企划得能力也没有办法的领域，但单纯的肯花钱和设备就能解决。也就是说人脑所不能涉及的领域吧。这是其一。 其二，比如《百战百胜王（風雲！たけし城）》这类节目，观众利用手中的智能手机操作的话球就会飞出，或者在《热汤CM（熱湯コマーシャル）》中，观众振动智能手机，水就会变热等参与性节目。想做演员没有钱的介入的话就成为无法达成的领域的话，理论上其成本不可能为0，因为存在着经济概念。如果这是典型的话，那么我就会觉得现在的电视就有了其他的意义。——单纯地说以“人的有趣之处”作为卖点的话，网络必稳操胜券吗？ 在网络的free culture中虽然没有钱，但是只要有有趣的想法的人出来的瞬间，电视就输了。而且USTREAM或YouTube等，实际上已经上线。而且最近电视娱乐界的质量非常差，而且根本没有成本，召集有趣的人就可以解决，这种想法已经冒头蔓延开了。而且竞争的优越地位明明没有，不知道是因为普及，还是习惯，但这其实是最具优越地位性，所以才会赢。——确实类似于《百战百胜王（風雲！たけし城）》豪华的美术舞台布置和装置的齐全，亿人的聚集人海战略的谈话节目越来越多。 已经没有未来了。不在演员上花费成本，预算全部投入在利用科学技术的表现是《阿凡达》成功之处。也就是说可能有比Tom Cruise更帅的人，说的再具体点，喜欢的人在身边的话更加能够使人兴奋，只是看喜欢的人的部落格所花费的时间和劳动力，这就是现在的信息化社会吧，——虽然说网络只要自己上传就可以出名，但电视却是要经过培训才能登台亮相，这能不能说是电视的优越性呢？ 确实现在他的这个优越性还存在，但是以逐渐失去其地位，在理论上正开始出现破绽。为什么这么说呢？想法和生活都变得超多样化，一旦存在信息量之差，就会变得没有共通的价值观。10年前“登上TV Bros.”可能会对这种稀少价值有共鸣，但多样化的形成，不知道TV Bros.的人不止少数。这个不仅体现在电视、杂志，当价值观念开始共有后形成的品牌经济也会变得越来越难。
但是，像苹果那样带给我们本质性的变化品牌就另当比伦了。乍看之下苹果就是一个时尚品牌。但是苹果不仅改变了我们的生活方式和体验就连理论上也随之发生变化，即使没有共通的价值概念我们也会去追逐这一时尚。但是我们去买附有知名品牌logo的手袋也不是因为大家都知道它才会去买的嘛。总之当有了共通的价值概念后他们之间的交流也就成立了。所以没有唤起我们自身或本质的交流的话，今后也无法实现品牌经济。所以，无论是电视还是品牌，若只有既存的优势，而没有获得理论上的优势的话终将走向灭亡。——最后，今后有没有类似“最想做这个！”的野心呢？ 要极端的说⋯⋯比如不止是设计、应用软件，还想要制造手机呀，还有能从事城市建设那就超帅了。 猪子 寿之
1977年。从与信息革命对立到接受，以数码技术将世界变革，是超“危险级”人物。留美1年，01年东京大学工学部计数工学科毕业后创立Team Lab。04年，东京大学院信息学中退。软派的说话口吻的背后却隐藏着硬派的一面，他在大学研究概率、统计模型，大学院研究自然言语处理和艺术。我觉得还是应该尽早出书。对了！你们BROS．能替我出版吗？
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.